Elizabethan Music and Musical Criticism [Reprint 2016 ed.] 9781512814651

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ELIZABETHAN MUSIC AND MUSICAL CRITICISM

PARTHENIA »

IN-VIOLATA OR

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[46]

*

Talys

PSALME. 2. T H E T H I R D

\

TUNE18

| "The third doth rage and roughly brayth" ]

i

m

f f f

n

Why fumeth

l'I

in

l

1

r rr

sight :

the

I

Gentils

r takth

spyght:

in

hand:

T

(he

m Mr

f p f u r y

in

••g>' n g

J

o

¥

M i l '

i Why

m

J

f=

r

r people

f o n d : vayne t h i n g e s

to

J

jJ

r

bryng

J

P

a-

J

f = f

É

i

rr

f bout,

The

kyngs

arise:

the

f

lordes d e

r

p

p

r A

^

T

' M J

~

- gaynst the L o r d : w y t h

- J > J J . . .

T

r

r false

i.J,

-

vise:

in

counsayles

r r

m e t ther-

r;

r J

i

i

accord:

j M r/ r f f r r agaynst

r

hys C h r i s t

they

go.

J J - J

r=

18 T h e leger line at the end of the base part is the only one in the book, a n d a rarity in E l i z a b e t h a n printed music. V a u g h a n Williams has based his impressive Fiinrasia on a Theme by Tallis, for string orchestra, on the above tunc.

[ 47 1

\

P S A L M . 95. T H E F O U R T H

TUNE

["The fourth doth fawnc and flattry playth"

Pf O come in

one,

to

prayse

the

&

ioyes

^ j j

I"

r ' 'i

him

recount:

r r

let

us

our

stay

fit

health,

f

all

1r

r harty

1

lord,

(J,» .jil 1 V J i rj j .. - j f 'f r ' f

V j l j j l.•jJ|B — r r ^ 1

M

j M J IJ J l j j l rr f r ??

^r ~ r

record:

J i r f r WF—

to

..

f r

j-

I

ff

this strong r o c k c : o u r

Lord

J J

of

health.

Hi*

1 j j 1 » - ,J 1 r M - - r1

r V r

r rrtr

I J l o J|,1.JJJ|o j l j j | o

^Tr-^'-V'-r r face w i t h prayse, let

us p r e - vent: his factes in

v r r r

i l — ^ — L ® — | g — p - J

—l—1 we

I

TT—^—j

IT

19

1

t

1 O

let

J

... .IJ J , » . r~

say:

sight,

i

—

d

- 0

, 0

1 —

—

"

Joyne •—«J—|

-r i

1— h — i

H

U i J Hi

r r r * r r rr ... hi., J J J ... J | j j J if r 1 f '" r r ' r ' in

r

u

us d e n o u n c e , ' 9

glad

assent:

our psalmes

J—

&

hymnes,

let

us pronounce.

41

Tnlys

I.e., l e t u s p r o c l a i m h i s d e e d s .

[48]

/

P S A L M E . 42. T H E F I F T T U N E

'The fyfth delig[hte]th and laugheth the more"

f

|J r

Even

I)kc

J

1,1

the

iJ ' f - r r r ' "

hunt

- cd

gj

hynd:

(he

j

r

- T P

w a - tor

j

i

brokes

de - sire

10

J

r

Even

thus

my

soule:

thjt

faint-ic

^

"

f

p;re.

My

J

r1 ^

soule did

J

s'

thirst

to

-J

is:

To

=

J r

[J I s

thee

would

ir

J

^

faync

j

}-

-jg

shall

1

i- J 1

comc,

...

to

see

J ,0

Gods

livc-Iy

J ...

facc

J

J r /.

Dot omitted. 21 22

W h o l e rest in tenor. f a y d in treble.

[49]

Talys.

\

P S A L M E . 5. T H E S I X T

TUNE

" T h e sixt bewayleth: it weepeth full sore' m y plaint

i

m

7 r

Ex-pend

j

O

Lord

a

_

plaint

of

m

°""Y ~ r

my

W8

worde:

mynd:

J

in

r r r r / ' - ' r

griefe

that

I

do

JJ=

make,

My

l[>]8 r

musing

J

r r r

rc - count

r

most

kynd:

J

f*

r

geve

'

^

care

|

f for

thine

J

J

ownc

sake,

P

r O

J

^

harke my

r Let

p

i

|rJ

fact: shine

1 / i

' r l we thy

il1

1

f1

i

r'f

^

way: may know

j .4 J . J J

'J

11

r

rl l J

,J

be

m

J

J

re-ward:

is

l^tfj I

part, blesse

,J , , J t J

,.J

r

'

i

r

T

,J

r

rJ |i, | ,]r J rj

place: his

1

1

mer - cies

J

J

day: while

we do

J ,.] i .4

nyc d e - c l a r d : as playne as

J

,J p

J

|J

us

J to

H J H -

saile, this

J

i f

r r?

r

V l ' V

he our

^

all: 00

r 'r r 'f i

i1 al

geo - de

f r f f f f r r fraile Thy healthes

Î

r V r r f r r r r'f

rne

r f r r r Vf'

hart, with

À

I

u

J

^

world so

J

J

r T f f T eye: all

J

Gen-tils

,J

spy.

J . J Talys.

24

T h e composition k n o w n today as Tallis' C a n o n is similar but shorter. Both canons are between the soprano and tenor at the octave. T h e r e is some canonic imitation here in the bass also.

[52]

M U S I C SUNG I N C H U R C H F u r t h e r evidence of the attempt to induce people to sing p s a l m s instead of objectionable ballads at popular g a t h e r i n g s appears in the titles of the next three psalters: Day's Psalter of 156], Cosyn's

Daman's

of 1579,

and

( 1 5 8 5 ) . T h e first of these w a s published in f o u r separate part-

books, headed " M e d i u s " (soprano), "Contratenor" (alto), " T e n o r , " and " B a s s u s " respectively, in the m a n n e r of the printed collections of m a d rigals. F o r four-part h a r m o n y each m e m b e r of the g r o u p w o u l d s i n g f r o m the part-book that suited his or her r a n g e of voice. T h e first partbook is entitled: Medius of the whole psalmes in foure parts, whiche may be song to al musicall mstrumentes, set forth for the encrease of vertue: and the abolishyng of other va\ne and triftying ballades. Imprinted .

. .

at London

by fohn

Day

I563.

T h e h a r m o n i z a t i o n s by D a m a n , published w i t h o u t his leave, w e r e entitled: The Psalmes of David in English

meter, with Notes of foure partes set

unto them, by Guilielmo Daman, for John Bull,2i

to the use of the godly

Christians for recreatyng them selves, in stede of fond and unseemley Ballades. Anno 7579. At London Printed by fohn Daye. Cum

privdegio.

J o h n C o s y n , in the dedication of his psalter 2 6 to Sir F r a n c i s W a l s i n g ham, writes: A n d having

. . .

set S i x a n d F i v e p a r t s u p o n t h e t u n e s o r d i n a r i l y

sung

to t h e P s a l m e s of D a v i d , I w a s e n c o u r a g e d b y s o m e to p u b l i s h t h e m f o r t h e p r i v a t e u s e a n d c o m f o r t of t h e g o d l i e , in p l a c e of m a n y o t h e r S o n g s n e i t h e r t e n d i n g to t h e p r a i s e of G o d , n o r c o n t e i n i n g a n y t h i n g fit f o r C h r i s t i a n e a r e s .

B y 1592 several collections of m a d r i g a l s had been printed in E n g l a n d , 25

Not the musician of that name. Musik,e of Six, and Fiue partes. Made upon the common tunes used in singing 0/ the Psalmes. By lohn Cosyn. LONDON. Imprinted by Iohn Wolfe. / 5 S 5 . Cum privilegio Regiae Xlaiestatis. T h e British Museum contains no copy of this exceedingly rare w o r k , anil the Bodleian only a Bass part (Mus. 55. g. 2 ) . 26

[53]

E L I Z A B E T H A N MUSIC and, contrary to the practice in the psalters just mentioned, T h o m a s East in that year was able in the dedication of his psalter to mention secular music without censure: Some have pleased themselves with Pastoralls, others with Madrigalls, but such as are endued with Davids hart, desire with David to sing unto God Psalmes & Hymnes and spirituall songs. T o harmonize the traditional psalm tunes East employed some of the best composers of the age—"J. D o u l a n d B. of Musick, G . Farnaby B . of Musick, R . Allison, M . Cavendish, John F a r m e r , G . K i r b y , E . Jhonson, W . Cobbold, E . Blancks and E . H o o p e r " — beeing such as I know to be expert in the Arte, & sufficient to answere such curious carping Musitions, whose skill hath not bene employed to the furthering of this work. T h e last f o u r names mean little to us today, yet Johnson's music delighted the Queen, Cobbold was organist of N o r w i c h Cathedral, and Hooper organist of Westminster Abbey. T h e consequent excellence of the harmonizations made the book popular, and it was reprinted in 1594 and 1604. T h e title would indicate its probable use both outside the church and during divine service: The whole boo\e of psalmes: with their wonted tunes, as they are song m Churches, composed into foure parts: All vvich are so placed that joure may sing, ech one a several part in this booke . . . Imprinted at London by Thomas Est, the assigné of William Byrd . . . 1592. In 1599 an admirable Psalter was published, with the customary tunes simply and tastefully harmonized by Richard Allison: The Psalmes of David in Meter. The plaine song beeing the commun tunne to be sung and plaide upon the Lute, Orpharyon, Citterne or Base Violl, severally or altogether, the singing part to be either Tenor or Treble to the Instrument, according to the nature of the voyce, or for fowre voyces . . . [54]

MUSIC SUNG IN CHURCH Burney, w h o was a poor judge of Elizabethan music, gives the work scant praise, 27 while Wooldridge considers it perhaps the finest psalter ever issued. 28 It will be noticed that the chief tune appears in the soprano part, not the tenor. In 1591 D a m a n had issued his second psalter in t w o editions, one h a v i n g the tunes in the tenor part, the other in the soprano. W e here observe music in the process of evolution: the sovereignty that in medieval music belonged to the tenor part was now passing to the soprano. H e r e is Allison's setting of "Winchester" to Psalm 84. T h e music is transitional in style also: it is obviously in the modern key of G Major, but the key signature has not appeared. T h e first F natural was perhaps sung F sharp, following the medieval rule of musica

ficta:

" P S A L M E 84" Harmonized by Richard Allison, 1599

y

s

J. J 1 J f - ftiflf' f

n

A- J A j J J n 1

a

n a

« ft

r J r

1

j J rp

r

r j

J f

r

r

j

J

p 8

r

m j

f

j r

it»

J

J r ^

ltj

r*"

a. A A A A a. j

f^f *

^ AA J. rr

J f

1r

°

10

" io

r1

j j

t

fJ [

1r 1 r

j

1

j r

j r

°

" •

Charles Burney, A General History of Music, 1776—1789, iii. 57. See Grove, iv. 277, footnote. Harry E. Wooldridge, M.A. ( 1 8 4 5 - 1 9 1 7 ) , Slade Professor of Fine Art at Oxford University, wrote the article on the Psalter in Grove's Dictionary, iv. 2 6 7 - 2 8 1 . He was also the author of the first two volumes of the Oxford History of Music, 1st Edition, 1 9 0 1 - 1 9 0 5 . 28

[55]

ELIZABETHAN MUSIC How pleasant is thy dwelling place, O Lord of Hosts to me, The tabernacle of thy grace, How pleasant Lord they be. T w o of the prefatory poems are by John Dowland and Sir William Leighton, 2 9 and may be given here as evidences of friendship between these prominent musicians: Commendatory John Dowland Richard

Verses

Batcheler of Musicke in commendation of Allison, and this most excellent

wor\

F Musicks Arte be Sacred and Divine, And holy Psalmes a subject more Divine; If the great Prophet did the words compile, And our rare Artist did these smooth notes file, Then I pronounce in reason and in love, That both combinde, this most Divine must prove, And this deare friend I recommend to thee Of thine owne worth a prooved veritie: Whose high desert doth rather urge me still, To shew my weakenes, than to want good-will.

I

William

Leighton

Esq. in praise of the

Author

OE silly Muse, and doe my love present to Musickes praise the Author of this worke: Plead his desert tha[t] is so excellent, in whose swete notes so secrete skil doth lurke: Let all that loves this Sience so Divine, afford him grace that haps this worke to see:

G

29 Dowland was the greatest Elizabethan composer of songs. For Leighton's The Tears or Lamentadons of a SorrowfulI Soule, see p. 57.

[56]

M U S I C SUNG IN C H U R C H Whose eares may judge what Concord can combine by Musicks arte, consists in notes but three, 80 Conjoinde in parts with true concent of art, as may appeare by every Close contrivde, H o w concords three containeth every part within this Booke, from whence notes are derivde: Admire his skill: let God have laude and praise, whose holy words these swete Consorts doe raise. Let this grave Musick give your eares content

—

Sith Musickes arte is drawne from this Concent.

Q

In 1 6 1 4 this same Sir W i l l i a m L e i g h t o n published a collection of metrical paraphrases and hymns of which he w a s the author, entitled The Teares or Lamentations

of a Sorrowfull

Soule:

sicalI Ayres and Songs, both for Voyces and divers Printed

by William Stansby.

composed Instruments.

with

Mu-

London.

1614.

T h e music is by the greatest array of distinguished composers represented in any Elizabethan volume. 3 1 L e i g h t o n w a s in jail for debt at the time, and these names, and poems l a u d i n g h i m by a dozen friends, suggest that his imprisonment may indeed have been unjust, as he claims. One friend, " I . D . " ( J o h n D o w l a n d , probably) quotes the Italian proverb Who loves not Musicke and the heavenly Muse, That man God hates and adds L e i g h t o n to the list of sweet singers, b e g i n n i n g with D a v i d . J o h n L a y f i e l d rejoices that he can henceforth Say Well-i am when griefes Leight-on

my part

80 Concord, i.e., what we should call a Common Chord. It consists of three notes, e.g., C E G , or D F A . Leighton shows one in the diagram. 81 Bull, Byrd, Coprario, John Dowland, Ferrabosco, Ford, Orlando Gibbons, Nathaniel Giles, Edmund Hooper, Robert Johnson, Jones, Robert Kindersley, John leighton himself, T h o m a s Lupo, John Milton (father of the poet), Peerson, Pilkington, Ward, Weelkes, and Wilbye.

[57]

ELIZABETHAN MUSIC but a poem by Simon Sturtevant is placed last, since it is the most enlightening of all: Was ever Light-on Table set before To light our men with heavenly dulced Layes, . . . since worthy Cedmons daies, Whose singing spirit hath Light-on this good knight. Most of the compositions are for four or five voices unaccompanied, but the volume is not intended primarily for church use, since the remainder have accompaniments for lute and similar plucked instruments. In 1621 Thomas Ravenscroft, who was a good musician but whimsical and sometimes pedantically attached to obsolete conventions, issued his edition of The whole Boo\ of Psalmes, with the tunes in the tenor.32 A number of the settings are from East's fine psalter (1592), and the fifty-one harmonizations by Ravenscroft himself are musicianly. T w o settings by the poet Milton's father are included. Ravenscroft had pretensions to learning, and his Dedication is full of quaint information and misinformation. He speculates on the character of David's own music to the psalms, and decides, Whatsoever the tunes were in David's time, there is no question but they were concordant and harmonious, which could not be, had they not beene divided in parts, and he vainly quotes I Chronicles cited II Chronicles

15.16 as proof. He might better have

5.15 in favor of the music being in unison:

It came even to pass, as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals and instruments of ransick, and praised the Lord, saying, For he is good; for his mercy endureth 82 John Dowland's skilful harmonization of "Old Hundredth," from this psalter, is printed in Grove, iv. 278.

[58]

MUSIC

SUNG

IN

CHURCH

for ever; that then the house was filled with a cloud, even the house of the Lord. In the University of Pennsylvania Library in Philadelphia there is the M S Cantus part-book of a psalter harmonized by Giles Farnaby. It once belonged to Francis Hopkinson ( 1 7 3 7 - 1 7 9 1 ) , who was both the first graduate of this university and the first American composer of secular works; and his descendant Mr. E d w a r d Hopkinson, Jr. has kindly lent it to the university. Francis Hopkinson may have used this psalter while he was preparing A Collection few Anthems Christ

Church

and Hymns

of Psalm

. . . for the Use of the United

and S' Peter's

Church

in Philadelphia

Tunes

with a

Churches

of

1763. H e also

owned music by leading European composers of his own century, and his intelligent interest in music during the American colonial period is noteworthy. Farnaby's work is entitled: The Psalmes of David, to fower parts, for Viols and voyce, The first boo\e Doricke Mottoes, The second, Divine Canzonets, Composed by Giles Farnaby Bachilar of Music f^e with a prelud, before the Psalmes, Cromatic\e In Farnaby's dedication of the work to Henry K i n g , "Doctor of Divinitie and chiefe prebend of the Cathdirall [.nc] Church of Saint Paul," we read: Having a long time had a desire to present to the vew, Davids Psalmes into more privatt exercise for Gentlemen, they being more laudable then any other Musicke, have composed them not as formerly they were, I desire therefore . . . that you would (pardoning my boldnesse) vouchsafe to take in good worth this my composed laboure . . . Your worships in all duty GILES FARNABY.

[59]

ELIZABETHAN MUSIC This may not be his signature, for the handwriting resembles that of the professional copyist. But we need not doubt the authenticity of the work. It is on watermarked paper of approximately the middle third of the seventeenth century. Its chief interest is not musical but biographical. Since K i n g received his doctorate in 1625, Farnaby therefore must have been still living in that year, a quarter of a century later than the date 1600 which Grove's Dictionary gives as the approximate time of his death. 3 " T h e psalter must have been completed before Dr. K i n g became Dean of Rochester in 1639. T h e Dedication is elaborate, and the composer may have hoped that the prelate would have the work published. King, when Bishop of Chichester, did indeed publish a psalter in 1651, but it contained only eight tunes and owed little or nothing to Farnaby, who by that time had doubtless passed away. It is impossible to determine the exact character of Farnaby's Psalmes of David,

for the three lower parts have not survived. These were

doubtless contrapuntal, for rests in the Cantus part are frequent. The peculiar title may suggest that the work (or at least the "first booke") was for solo voice and three viols. Yet the word Canzonets

would im-

ply four vocal parts. Possibly the two books may thus differ by having instrumental and vocal accompaniments respectively, for the surviving Cantus parts are almost identical. Each "booke" consists of the psalms (in Sternhold and Hopkins' version) almost complete, the same psalm having the same "church tune" in both books. T h e numerous melodies are the familiar ones, such as "Winchester," "Cheshire," "Dundee," "Martyrs," and "Dutch T u n e . " In addition, the first book has the customary paraphrases of the canticles, Lord's Prayer, etc., also with tunes. "Doricke Mottoes on the psalms" probably means solemn musical commentaries on them; Charls Butler uses the word " D o r i c " in this curious 33 As Dr. Otto E. Albrecht noted in The University of Pennsylvania Library Chronicle, March, 1938, p. 8. For Francis Hopkinson's varied musical interests sec the above article and the following books: O. G. Sonneck, Francis Hopkinson and fames Lyon, and Dr. Robert A. Gerson, Music in Philadelphia.

[60]

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any

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in

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afaun xeeephmceafb/tif

in ¿*/tewer/ffh>

GILES

man-

asjvr»i*>¿yhfeuuJMadrïgah M A D R I G A L was a secular composition for unaccompanied voices (two to eight), each singing a separate part. Amorous poetry was commonly but not always used, and the music was sometimes contrapuntal, sometimes harmonic like our modern part-song with the main tune in the treble. For no very good reason, the term is not applied to modern compositions, although we have no word to take its place. Five voices were more commonly employed than four; some churchgoers of the present day who are accustomed to listen to quartet singing may have noticed the surprising increase in dignity and sonority that the addition of a fifth part gives to the harmony. L i k e many good things, the madrigal came out of Italy; the Italian madrigale was literally a composition in the mother tongue. 1 T h e madrigale appeared about 1340, and after flourishing for a time was apparently forgotten until a new and greater era of madrigal writing commenced in 1533. In this later period the important names at first were Flemish—Arcadelt, Verdelot, Willaert, and de Rore—but in the latter half of the sixteenth century the distinguished madrigalists, with the exception of the Fleming di Lasso, were Italians again: Marenzio, Gabrieli, Monteverde, and Gesualdo. There were countless lesser names. T h e madrigal was also introduced into other countries, such as France, Spain, and Germany, but only in England did it become sufficiently important to rival and probably in some respects surpass its Italian prototype. W e look back to the reign of Elizabeth as the great age of the madrigal. But there was no marked recognition of that fact at the time. The Elizabethans could not know that their work in both literature and 1 For the etymology of madrigale, posers, pp. 43-49.

see E. H. Fellowes, The English

[92]

Madrigal

Com-

MADRIGALS music had reached a climax not attained previously and perhaps never to be surpassed in their nation's history. W h a t pride they would have taken in that realization! F o r they rejoiced in mighty achievements. But although the madrigal in its o w n day was hardly recognized as a great art form—there is occasional apologetic reference to the fact that its purpose was only to amuse—yet they proudly stated that in music they yielded the palm to no nation, and they rewarded their greatest musicians with university degrees 2 and appointments at court. Some of the composers have furnished us a valuable commentary to their o w n compositions by describing their aims and methods in the prefaces to their printed works. References by sixteenth- and seventeenth-century writers to English madrigals and madrigal composers were various in nature, as the f o l l o w i n g pages will show. Only t w o sets of madrigals were published in E n g l a n d before 1588, and because f e w madrigals of the same period have come d o w n in manuscript (there were numerous sacred w o r k s ) , it is safe to assume that f e w were written. I shall discuss in order the madrigals: Printed by WYNKYN DE WORDE in 1530. Composer u n k n o w n . Composed

by

RICHARD EDWARDS (C. 1 5 2 3 - 1 5 6 6 ) , poet, playwright, coach, and musician. THOMAS WHYTHORNE ( 1 5 2 8 - 1 5 9 0 ) , w h o published his sets in 1571 and 1590. WILLIAM BYRD ( 1 5 4 2 / 4 3 - 1 6 2 3 ) , whose 1588 set opened the chief period of the English madrigal, and was followed by his other sets in 1589 and 1 6 1 1 . T h e n for the reader's convenience I shall take up in alphabetical rather than chronological order all the others whose madrigals appeared in 2

See p. 272.

[93]

ELIZABETHAN MUSIC print. T h e dates of publication, though given below, are of minor importance, for such modern qualities as maturity of style, expressiveness, and the use of daring harmonies appear more prominently in the earlier compositions than the later. Judged by surviving manuscripts, the composers who did not publish do not seem to have possessed outstanding ability. T h e names of the greatest composers are printed in capital letters. (publ. 1606). Unimportant as a madrigal composer.

RICHARD ALLISON THOMAS

1570-1630; publ. 1604 and 1618). Good but not

BATESON (C.

outstanding. H e set fine poems. JOHN BENNET

(publ. 1599). Melodious, tasteful madrigals.

RICHARD CARLTON

1558-1638; publ. 1601). Peculiar clashes of to-

(C.

nality. (c. 1565-1628; publ. only eight madrigals, 1598).

M I C H A E L CAVENDISH M I C H A E L E A S T (C.

1580-1648); publ. four sets: 1604, 1606, 1610, 1619).

Unimportant. JOHN F A R M E R

(publ. 1599). Pleasant works.

GILES FARNABY

(FL.

1590-1625; publ. 1598). His interesting and highly

original madrigals and virginal music contain the most daring harmony of the Elizabethan era. A L F O N S O FERRABOSCO

the Elder (d. 1588). See Chapter

ORLANDO G I B B O N S

(1583-1625; publ. 1612). Polyphonic, rather aus-

VII.

tere. T H O M A S GREAVES JOHN HILTON

(publ. 1604). Unimportant.

the Younger (1599-1657; publ. 1627).

W I L L I A M HOLBORNE EDWARD

(publ. 1597). Unimportant. See p. 155.

(no set published). H e contributed to The

JOHNSON

Tri-

umphes of Oriana, 1603. ROBERT JONES

(b. 1575; publ. 1607). Greater as a song composer.

GEORGE K I R B Y E H E N R Y LICHFILD

(d. 1634; publ. 1597). Fine, austere. (publ. 1613). Unimportant.

THOMAS M O R L E Y

(1557-c. 1603; publ. 1593, 1594, 1595 [two sets], [94]

MADRIGALS

1597). One of the best theorists, and the most popular madrigalist today. In spite of his ill health and consequent depression, his madrigals are noted for their cheerfulness. JOHN M U N D Y

(d. 1630; publ. 1594). Unimportant. (d. 1638; publ. 1614, 1624). Good, but not out-

FRANCIS PILKINGTON

standing. 1595-1659; publ. 1632 a set with instrumental ac-

W A L T E R PORTER (C.

companiment). THOMAS

RAVENSCROFT

(C.

1590-c. 1633). Unimportant as a madri-

galist. THOMAS T O M K I N S

(1573-1656; publ. 1622). His expressive madri-

gals are by a man of unusual talent. THOMAS VAUTOR JOHN W A R D THOMAS

(publ. 1619). Unimportant.

(publ. 1613). Expressive and beautiful works.

W E E L K E S (d. 1623; publ. 1597,1598, 1600 [two sets], 1608).

Expressive and original. Perhaps second only to Wilbye. JOHN

W I L B Y E (1574-1638; publ. 1598, 1609). Generally considered

the greatest English madrigalist. HENRY YOULL

(publ. 1608). Pleasant three-part madrigals.

W Y N K Y N DE W O R D E in 1530 printed twenty madrigals—"ix of iiii ptes and xi of thre ptes"—of which only the bass part has survived. T h e composer's name is unknown. 3 Little can be said today about these first madrigals printed in England except in praise of their typography, which is more beautiful than that of most later Tudor music.

1523-1566), who wrote some music but published none, was a versatile and interesting Elizabethan. He is known today musically by his madrigal "In going to my naked bed." Some of his poems were published in The Paradise of Dainty Devices. A s master of the children of the Chapel Royal, he trained the choirboys to act R I C H A R D EDWARDS

(C.

3 See the informative, but too condensed, article entitled "Printing of Music" in iv. 2 5 3 - 2 5 6 .

[95]

Grove,

ELIZABETHAN

MUSIC

his play Damon and Pythias on February 2, 1565, of interest in the history of the drama; and his last play, Paiamon and Arcite, was acted in the great hall of Christ Church, Oxford, Sept. 3, 1566, before Queen Elizabeth. Anthony Wood describes the performance interestingly.4 The Queen was so pleased that she gave him "promise of reward." His excellence both as poet and musician won for him the posthumous eulogy (1567) "the flower of all our realm and Phoenix of our age" from Dr. Thomas Twyne, Fellow of Corpus Christi College, Oxford. Dr. Twyne refers to his musical ability: T h y tender tunes and rimes w h e r e i n thou wontest to play, E a c h princely d a m e of C o u r t a n d t o w n shall bear in m i n d

alway.

Professor Wallace in The Evolution of the English Drama Up to Shakespeare'' said that "As lyricist, he was the highest achievement England had yet attained." Barnaby Googe in Eglogs, Epytaphes, and Sonettes (1563) praised his plays as not likely to be surpassed by any future poet.6 Hollybande, 7 the Huguenot schoolmaster, praises Edwards in perhaps the only description that we have of early Elizabethan madrigal singing (1573). The scene is a private house, it is snowing: " R o l a n d , shall w e have a s o n g ? " " Y e a S i r : w h e r e bee y o u r bookes of m u s i c k ? for they bee the best corrected." " T h e y bee in m y chest: K a t h e r i n take the key of m y closet, y o u shall

find

t h e m in a litle til at the left h a n d : behold, therebee faire songes at f o u c r partes." " W h o shall singe w i t h m e ? " " Y o u shall h a v e companie e n o u g h : D a v i d shall m a k e the base: J h o n , the tenor: a n d J a m e s the treble." 4

Athenae Oxonienses, 2d ed., vol. i, entry 172. Charles William Wallace, op. cit., p. 107. 6 For the sonnet in question, see Edward Arber's English Reprints, Dec. 1 , 1 8 7 1 . 7 Claudius Hollybande (Claude de Saindiens), The French Schoolemaister, 1 5 7 3 , pp. 1 2 6 - 1 3 2 . See also p. 202 of this present work. 5

[96]

MADRIGALS " B e g i n e : J a m e s , t a k e your t u n e : go to: for w h a t do you t a r i e ? " " I have but a r e s t . " " R o l a n d , d r i n k e afore you begine, you will sing with a better c o r a g e . " " I t is well said: geve m e some white w i n e : that will cause m e to sing clearer." " Y o u must d r i n k greene w i n e . " " Y e a trulie to cause m e to lose m y voice." " O h , see w h a t a fonell, for he hath powred a q u a r t e of w i n e without a n i e t a k i n g e of his breath

. . . "

" T h e r e is a good s o n g : I do marvell w h o hath m a d e it." " I t is the maister o f the children of the Queenes c h a p e l l . " " W h a t is his n a m e ? " "Maister Edwards."

The Paradise of Dainty Devices contains his poem: IN C O M M E N D A T I O N

OF

MUSICK"

W h e r e gripyng griefs the hart would w o u n d & dolful domps the m i n d e oppresse, T h e r e M u s i c k with her silver sound, Is w o n t with spede to give redresse. O f troubled m i n d e for every sore, S w e t e M u s i c k hath a salve therefore. In j o y e it m a k e s our m i r t h abound, In g r i e f it chers our heavy sprights, T h e carefull head realease hath found, B y M u s i c k s plesant swete delights. O u r sences, what should I saie m o r e , A r e subject unto M u s i c k s lore. 8

From Dr. Leicester Bradner's The Life and Poems of Richard Edwards, Yale University Press, 1927. Differences may be noted between this authentic text and the one Shakespeare used. The Paradise of Dainty Devices was published in 1576, ten years after Edwards' death. A setting of this poem by Adrian Batten (d. 1637) is printed in Hawkins' History of Music, Vol. 5 (p. 924 in the edition of 1853).

[97]

E L I Z A B E T H A N MUSIC The Godds by Musick hath their praie, The foule therein doth joye, For as the Romaine Poets saie, In seas whom Pirats would destroye, A Dolphin saved from death most sharpe, Arion plaiyng on his harpe. A heavenly gift, that turnes the minde, Like the sterne doth rule the ship, Musick whom the Gods assignde T o comfort man, whom cares would nip, Sith thou man & beast doest move, What wise man than wil thee reprove? Shakespeare in Romeo

and Juliet,

A c t I V , Scene 5, quotes the first

four lines of this poem, in a passage given below. Its numerous musical allusions and puns exemplify Shakespeare's well-known interest in music. H i s actual knowledge of music will receive more explicit consideration in Chapter V I I . Musicians enter to escort Paris and Juliet to the church, where they are to be married. T h e y find her in a trance, and think she is dead. First Musician. Faith, we may put up our pipes9 and be gone. Juliet's Nurse. Honest good fellows, ah, put up, put up; for, well you know, this is a pitiful case.9 [Ejr/7.] First Mus. A y , by my troth, the case may be amended. Enter Peter [the Nurse's servant]. Peter. Musicians, O musicians, "Heart's ease," 10 "Heart's ease:" O, an you will have me live, play "Heart's ease." First Mus. Why "Heart's ease"? 9 Pipes: probably recorders. Cf. Hamlet. Professor Schelling suggests that after the words "pitiful case" the next player would hold up his instrument case, as not too shabby but that it could be amended. This would bring a laugh. 10 Heart's Ease: a popular tune. Thomas Rychardes set words to it in his play Misogonus, before 1570.

[98]

MADRIGALS Peter. O, musicians, because my heart itself plays " M y heart is full of w o e ; " 1 1 O, play me some merry dump, 1 2 to comfort me. First Mus. Not a dump we; 't is no time to play now. Peter. You will not, then? First Mus. No. Peter. I will then give it to you soundly. 1 3 First Mus. What will you give us? Peter. N o money, on my faith, but the gleek; 1 4 I will give you the minstrel. 16 First Mus. Then will I give you the serving-creature. 1 " Peter. Then will I lay the serving-creature's dagger on your pate. I will carry no crotchets: 17 I'll re 1 8 you, I'll fa you. D o you note 13 me? First Mus. An you re us, and fa us, you note us. Second Mus. Pray you, put up your dagger, and put out your wit. Peter. Then have at you with my wit! I will dry-beat you with an iron wit, and put up my iron dagger.—Answer me like men: "When griping grief the heart doth wound, And doleful dumps the mind oppress, Then music, with her silver sound"-— W h y "silver sound"? why "music with her silver sound"? What say you, Simon Catling? 1 9 11

My heart is full of woe: this is a quotation from a ballad. D u m p : this perplexing word usually indicated in music a mournful tune. It was also applied to a slow dance, and occasionally seems to have meant any tune. If the first meaning was intended, its incongruity would serve as an Elizabethan joke. 13 Soundly: an obvious musical pun. " N o t e " is also. 14 Gleek: to "give you the g l e c k " meant to " m a k e a fool of you." If, as some commentators suggest, "minstrel" is a pun on g l e e ( k ) , it is a very far-fetched one. 15 Give you the minstrel: call you a minstrel and treat you so. Compare Macbeth, I, iii, 1 1 9 , "Those that gave the Thane of C a w d o r to m e . " 16 Give you the serving-creature: treat you like a servant. 17 Crotchets: quarter notes, also whims. "I'll put up with no nonsense." 18 I'll re you, I'll fa you: Shakespeare may have chosen these two musical notes from the six at random; or the phrase may have conveyed to the audience the additional meaning of "I'll ray you [make you m u d d y ] , I'll faugh you [say 'faugh' to y o u ] . " 19 Catling: catgut. 12

[99]

ELIZABETHAN MUSIC First Mus. Marry, sir, because silver hath a sweet sound. Peter. Pretty! What say you, Hugh Rebeck? 20 Second Mus. I say "silver sound," because musicians sound for silver. Peter. Pretty too!—What say you, James Soundpost? 21 Third Mus. 'Faith, I know not what to say. Peter. O, I cry you mercy! you are the singer: I will say for you. It is "music with her silver sound," because musicians have no gold for sounding: "Then music, with her silver sound, With speedy help doth lend redress." THOMAS WHYTHORNE

[Exit.]

(b. 1528; d. after 1590) wrote the only secular

vocal works printed in England between 1530 (by W y n k y n de Worde) and 1588 ( B y r d ) . They are part-songs, with the following title: Songs for three, fower, and five voyces composed and made by Thomas Whythorne, Gent, the which songes bi of sundry sortes, that is to say, some long, some short, some hard, some easie to be songe, and some betweene both: also some solemne, and some pleasant or mery: so that according to the s\ill of the singers (not being Musitians) and disposition and delite of the hearers, they may here finde songes for their contentation and lining. Now newly published An. At London, Printed by John Daye, dwelling over

Aldersgate.

N o one seems to have taken the trouble to examine them until D r . Fellowes scored several of them a quarter of a century ago and recommended them. Previous to that time writers either ignored or vilified them. Eleven of them were reprinted (for the first time) in 1927, and it is now obvious that at times they show considerable contrapuntal skill, while their melodies are often fluent and their harmony is satisfactory from a modern standpoint. Their neglect by the Elizabethans them20 Rebeck: a primitive b o w e d stringed instrument, predecessor of the viol and violin. B y Shakespeare's time it had lost caste and w a s no l o n g e r included a m o n g the instruments at court. It was primitive and countrified, hence Shakespeare's choice of the name. 21 Soundpost: inside the body of a violin, a post supporting the w e i g h t and pressure of the bridge.

[ 100 ]

MADRIGALS

selves is difficult to account for except on the assumption that E n g l a n d had but f e w m a d r i g a l singers in 1 5 7 1 , consequently these compositions w e r e little sung and promptly forgotten. L a t e r critics followed either H a w k i n s , w h o assumed that W h y t h o r n e must have been an inferior composer because he w a s u n k n o w n , or B u r n e y , w h o with his customary contempt for the E l i z a b e t h a n m a d r i g a l calls them

"barbarous."

W h y t h o r n e was an isolated figure, not, so f a r as I k n o w , mentioned in any contemporary w o r k , musical or otherwise, and probably a wealthy amateur. A l l that w e k n o w about him ( a n d that is very little) he tells us in his long preface to his T e n o r part-book. T h i s document 2 2 is a piece of crabbed and at times almost unintelligible doggerel, but it has some historical interest. It m a y be s u m m a r i z e d as f o l l o w s : Music [he says] had reached a low ebb, whence the Queen, her ministers, and other intelligent lovers of music have revived it. T h e consequent initiative which others have shown in sending forth [manuscript] copies of their works has emboldened me to publish this; indeed Dutch, French, and Italian composers print most of their compositions. In this work I have set some of the Psalms to bring "heav'nly solas to heavy harts," and also (I hope without offense to religious men, of whom I am one) worldly works and sonnets of my own authorship, "to recreat th' over burdened and sore afflicted minds." But no more worldly works shall proceed from my pen. Some of these compositions date from the time when. I was a young man, and those of you that have copies will find I have made changes in words or music. Some are of a kind that will be unfamiliar even to those of you that are Musicians (and only those that can ably compose songs are worthy of that name). So I will explain that I have traveled in sundry foreign lands, lived among the people, and observed their various kinds of music, especially among the Italians; they have a pretty, merry one called the Napolitane. Some of my pieces, therefore, are English in style, others foreign. But the notation is English and clear. I wish nothing from this publication but its grateful acceptance. But in spite of my good intentions, I know it will en22

Sec Appendix A in the present volume.

[101]

E L I Z A B E T H A N MUSIC counter criticism, first from those who from their ignorance, lack of artistic taste, or warped natures are unable to judge fairly; second, from petty people, who examine every work minutely solely to pick as many flaws as possible, and last from jangling jays, who find fault with everything, even the best. T o those I would reply: it is easier to criticize than to amend, and easier to amend than to compose. M a n y of the above ideas are expressed by the later Elizabethan composers also: they apologize for publishing at all, or for including secular music, proclaim their devout purpose in composing sacred music, admit their dread of criticism, and sometimes confess their imitation of the Italian style. A note of apology runs through the prefaces of many Elizabethan books, and is largely conventional. T h e L a t i n eulogies written by his friends, which differ in the various part-books, unfortunately give no additional information. Those in the Medius book repeat ideas taken f r o m the Preface. Whythorne's second book, published in 1590, is less important. It consists of Duos, or Songs for two Whythorne

voices, composed

and made by

Thomas

Gent. In his Dedication to Francis Hastings, brother to the

Earl of H u n t i n g d o n , Whythorne tells us that since he published his previous set, duets for two voices had been printed abroad but not in E n g land, and he thought that many would appreciate such, especially in country districts where singers were f e w . Unaccompanied duets are not popular today, and Whythorne was probably soon disillusioned, for his seem to have produced neither praise nor imitation, if we may judge by negative evidence. A fine picture of Whythorne is printed at the end of the Cantus part. It is, I think, the only picture of an Elizabethan composer printed in an Elizabethan music book. T h e illustration doubtless interested his friends, but could hardly have helped sell the book to people that had never heard of him. Whythorne probably paid for the whole publication. It is somewhat difficult to estimate Whythorne's importance accurately, but he seems to represent a fortuitous and isolated outcropping [102]

THOMAS W H Y T H O R N E

MADRIGALS of a high level of secular musical intelligence which could not make itself visible until music printing became profitable. This change took place during the lifetime, and partly owing to the genius, of William Byrd (1542/3-1623). The age of the madrigal in England began with the publication of four famous works: 1588 Psalmes, Sonets, & songs of sadnes and fnetie, by Byrd. 1588 Musica

Transalpina,

Vol. 1, consisting of madrigals by Italian

composers, selected by Nicholas Yonge and literally translated into English. 1589 Songs of sundrie natures . . ., by Byrd. 1590 The first set of Italian Madrigalls

Englished,

edited by Thomas

Watson. English texts unrelated to the original Italian are used. Numerous Elizabethan references to Byrd, as we have already seen, bear witness to the extraordinary veneration in which he was held by his contemporaries. Both of the above-mentioned collections of Italian madrigals pay Byrd the exceptional compliment of including two madrigals by him, as if his genius transcended earthly boundary lines and man-made limitations. Musica Transalpina.

YONGE'S

Madrigales

title is:

translated of foure, five, and stxe parts,

chosen out of divers excellent Authors, with the first and second part of La Verginella, made by Maister Byrd, upon two Stanz's of Ariosto, and brought to spca\ English with the rest.

And in his Dedication to justify its publication, Yonge states that . . . albeit there be some English songs lately set forth by a great Maister of Musicke, which for skill and sweetnes may content the most curious: yet because they are not many in number, men delighted with varietie, have wished more of the same sort. Byrd's set evidently had been well received, and probably had made money. [103]

ELIZABETHAN

MUSIC

T h e title of WATSON'S publication is: The first sett of Italian Madrigalls nal dittie,

but after the affection

are also heere composed

inserted

Englished,

not to the sense of the origi-

of the Noate.

two excellent

By Thomas

Madrigalls

after the Italian vaine at the request

of Master

Watson.

There

William

of the sayd Thomas

Byrds Watson.

BYRD'S first set of madrigals came out in 1588, under the following title: Psalmes,

Sonets,

& songs of sadnes and pietie, made into Musicke

parts: whereof,

some of them going

pies, are heere

truely

newly

composed,

light in Musicke: ties honorable

corrected,

1588

among

and th' other being

are heere published,

divers, Songs

for the recreation

Printed

by Thomas

Cum

privilegio

cop-

very rare

and

of all such as de-

East the assigne

of W.

house of the said T. East, by

Regice

of five

in untrue

By William B y r d , one of the Gent, of the Queenes

Chappell.

and are to be sold at the dwelling Wharfe.

abroade

MaiesByrd, Paules

Maiestatis.

T h e n follow his famous "Reasons briefly set downe by th'auctor to perswade every one to learne to singe" (in those pioneer days some propaganda w a s necessary!): First, it is a knowledge easely taught and quickly learned, where there is a good Master, and an apt Scoller. 2. T h e exercise of singing is delightfull to Nature, and good to preserve the health of M a n . 3. It doth strengthen all parts of the brest, and doth open the pipes. 28 4. It is a singuler good remedie for a stutting and stamering in the speech. 24 28 T h e physical benefits of singing arc also mentioned by Charls Butler in his Principles of Musi\, 1 6 3 6 , Book 2, Chap. 3, Sec. 2, where he tells us that singing is " a special means to cleere and strengthen the L u n g s : so that," if he also takes outdoor exercise, " a S i n g i n g - m a n " need "never fear the Astma, Peripneumonia, or Consumption." 24 In agreement with this, Henry Peacham writes in The Compleat Gentleman (p. 98, 1 6 3 4 edition), " I m y selfe have k n o w n e many Children to have bin holpen of their stammering in speech, onely by it [ s i n g i n g ] . " But singing is not a cure for stuttering,

[ 104]

MADRIGALS 5. It is the best meanes to procure a perfect pronunciation, and to make a good Orator. 6. It is the onely way to know where Nature hath bestowed the benefit of a good voyce; which guift is so rare, as there is not one among a thousand, that hath it: and in many, that excellent g u i f t is lost, because they want A r t to expresse Nature. 7. There is not any Musicke of Instruments whatsoever, comparable to that which is made of the voyces of Men, where the voyces are good, and the same well sorted and ordered. 8. T h e better the voyce is, the meeter it is to honour and serve G o d therewith; and the voyce of man is chiefely to be imployed to that ende. Since singing is so good a thing, I wish all men would learne to singe. omnis spiritus laudet D o m i n u m . T h e w o r k has s o m e likeness to W h y t h o r n e ' s in several respects, f o r B y r d says in the E p i s t l e to the R e a d e r that in s o m e m a d r i g a l s the m a i n tune is in the treble w h i l e the other parts a c c o m p a n y , and that the m a d r i g a l s are g r e a t l y diversified, s o m e b e i n g sacred a n d others s e c u l a r : If thou be disposed to praye, heere are Psalmes. If to be merrie, heere are Sonets. If to lament for thy sinncs, hccrc arc divers songs, which being originally made for Instruments to expresse the harmonie, and one voyce to pronounce the dittie, are now framed in all parts for voyces to sing the same. If thou desire songs of smal compasse & fit for the reach of most voyces heere are most in number of that sort. . . .

If ther be any jarre or dissonance,

blame not the Printer, w h o . . . doth heere deliver to thee a perfect and though it is true that persons thus afflicted do not stutter while they sing. Francis Bacon makes the following contribution to this subject ( S y l v a Sylvarum, Experiment 3 8 6 ) : "Divers, we see, do stut. T h e cause may be (in most) the refrigeration of the tongue; whereby it is less apt to move . . . A n d so we see, that they that stut do stut more in the first oiler to speak than in continuance, bccause the tongue is by motion somewhat heated."

[105]

E L I Z A B E T H A N MUSIC true Coppie. . . . If thou finde any thing heere worthy of lykeing and commendation, give prayse unto God, from whome (as a most pure & plentiful fountaine) all good guifts of Scyence doe flow: whose name be glorified for ever. The most assured friend to all that love or learne Musicke: William Byrd. T h e composer here expects criticism for his dissonant harmonies, and his w o r k contains such. A t the end of "Blessed is he" he jumps to a dominant seventh note, as illustrated. A s the domim

nant seventh chord was the first of the many modern dissonant harmonies to come into accepted use, this extremely early example has some historical interest. T h e first specimen quoted in Grove's tionary

Dic-

(ii. 530), by Monteverde, dates from 1599.

L i k e the other significant composers of history, Byrd was a progressive. T h e Dedication to Sir Christopher Hatton regards "this first printed worke of mine in English" as "unworthie . . . the view . . . of so worthie a Personage." If my faults are excused, "it shall incourage me to suffer some other things of more depth and skill to follow these, which being not yet finished, are of divers expected and desired." Such self-depreciation

was conventional

in Elizabethan

prefaces. Conse-

quently w e cannot be sure that B y r d really preferred his forthcoming set ( 1 5 8 9 ) , to which he here was looking forward. His modern biographers, E . H . Fellowes and F r a n k H o w e s , prefer the 1588 set, but his contemporary public liked both, for both were reprinted during his lifetime. T h e 1589 set was his Songs of sundrie natures, some of gravitie, and others of myrth, fit for all companies and voyces. Lately made and composed into Musiere of 3. 4. 5. and 6. parts . . . H e tells the "curteous R e a d e r " that " S o m e are easie and plaine to sing, [106]

MADRIGALS

other more hard and difficult, but all such as any y o n g practicioner in singing, with a little foresight, may easily p e r f o r m e . " In his Dedication B y r d makes important record of both the success of his first set, and the increase of interest in music shown by prominent m e n : " H a v i n g observed . . . that since the publishing in print of my last labors in M u sicke, divers persons of great honor and worship, have more esteemed & delighted in the exercise of that A r t , than before. A n d being perswaded that the same hath rather encreased, through their acceptation of m y f o r m e r endevors, 1 " have composed these. Byrd's third and last collection of madrigals, interspersed with miscellaneous sacred works, appeared in 1 6 1 1 under the f o l l o w i n g title: Psalmes, Songs and Sonnets: some solemne, others joyfull, life of the words;

framed

to the

Fit for Voyces or Viols of 3. 4. 5. and 6. Parts.

T h e composer was sixty-nine years old at the time, and his address " T o all true lovers of M u s i c k e " includes words of w i s d o m that he had tested during a lifetime: Being exited by your kinde acceptance of my former travailes in Musicke, I am thereby much incouraged to commend to you these my last labours, for myne ultimum

vale. Wherein I hope you shall finde Musicke to content

every humor: either melancholy, merry, or mixt of both. Onely this I desire; that you will be as carefull to heare them well expressed, as I have been both in the composing and correcting of them. Otherwise the best song that ever was made will seem harsh and unpleasant, for that the well expressing of them, either by Voyces, or Instruments, is the life of our labours, which is seldome or never well performed at the first singing or playing. Besides a song that is well and artificially 25 made cannot be well perceived nor understood at the first hearing, but the oftner you shall heare it, the better cause of liking you will discover: and commonly that song is best esteemed with which our eares are most acquainted. As I have done my best endeavour to 25

Artistically.

[ 107]

ELIZABETHAN MUSIC give you content, so I beseech you satisfie my desire in hearing them well expressed, and then I doubt not, for Art and Ayre both of skilfull and ignorant they will deserve liking. Vale.

Thine W . Byrd.

T h e phrases " f r a m e d to the life of the w o r d s " and " F i t f o r V o y c e s or V i o l s " at first sight seem contradictory. T h e first shows that he wished his music to express the m e a n i n g of the words. T h e n h o w could he say that this vocal music was " f i t for viols"? T h e answer is that most ( t h o u g h not all) of the music written for strings was so similar in style to that for voices that the viol players probably welcomed the addition of m a d r i g a l music to their slender published repertory, 2 6 w h i l e the composers were doubtless pleased to be able thus to sell more copies. T h e present dislike of musical transcriptions arose comparatively recently. B a c h did not share it. W e k n o w that B y r d wrote his solo songs with viol accompaniment and then rearranged some of them as madrigals. H e w o u l d not object to viols again taking part in their p e r f o r m ance. Robert Jones intended his madrigals of 1607 " f o r viols and 2 7 voices, or for voices alone, or as you please." E v i d e n t l y the composers did not object to h a v i n g their compositions performed by varying combinations of voices and instruments. N o n e of the madrigals contain any u n g r a t e f u l passages fit only f o r strings. T h e other m a d r i g a l composers will n o w be taken up in alphabetical order. It has been said that a chronological arrangement w o u l d serve no good purpose. Nevertheless, a preliminary s u m m a r y s h o w i n g the number of sets of E n g l i s h madrigals printed d u r i n g each decade, and the date at w h i c h each composer published his first set may be of interest. The

Triumphes

of Oriana,

and the madrigals of Ferrabosco (repre-

sented in the collections of Italian madrigals dated 1588, 1597, and 1598) and R a v e n s c r o f t ( w h o s e unclassifiable collections appeared 1609, 1 6 1 1 , and 1 6 1 4 ) are not included in the f o l l o w i n g list: 26 27

A list of the music printed for viols is given on pp. 1 6 2 , 1 6 3 . Not "viols or voices."

[I08]

MADRIGALS

Years or decades

Total number of sets printed during each decade

Name

of each composer and the date at which published his first set of madrigals

1571

i

Whythorne ( 1 5 7 1 ) .

1588,1589

2

Byrd ( 1 5 8 8 ) .

1590-1599

13

Morley

(1593);

Weelkes

Mundy

(1597);

(1594);

Cavendish,

he

Kirbye

and

Farnaby,

and

Wilbye ( 1 5 9 8 ) ; Bennet and Farmer ( 1 5 9 9 ) . 1600-1609

10

Carlton

(1601);

(1604);

Bateson,

Allison ( 1 6 0 6 ) ;

East,

and

Greaves

Jones ( 1 6 0 7 ) ;

Youll

(1608). 1610-1619

9

Gibbons ( 1 6 1 2 ) ; Lichfild and W a r d ( 1 6 1 3 ) ; Pil-

1620-1629

3

T o m k i n s ( 1 6 2 2 ) ; Hilton ( 1 6 2 7 ) .

1632

1

Porter ( 1632, madrigals with instrumental accom-

kington ( 1 6 1 4 ) ; Vautor ( 1 6 1 9 ) .

paniment). RICHARD ALLISON

(dates of birth and death u n k n o w n ; he published

his set of madrigals in 1606) need not detain us. Anthony W o o d states that he " w a s then most excellent in his facultie, as several of his compositions which we have in our musick school shew." 2 3 But his

Psalter,

mentioned on page 54, is of more interest to us than his madrigals. T H O M A S BATESON

(c. 1570-1630; pubi. 1604 and 1 6 1 8 ) speaks of "these

curious and hard-pleased times," and in both sets expects critical censure. Since his death, at least, comment has been favorable. W o o d wrote: H e was a person esteemed very eminent in his profession, especially after he had published the first Set of English madrigals to three, 4. 5 & six voices, as also his Second set. 29

Uateson was a m o n g those honored by an invitation to compose a madrigal for the Oriana

collection. H e was organist of Chester Cathedral,

and later of Christ Church Cathedral, D u b l i n , and was the first recipient of the degree of Bachelor of Music f r o m T r i n i t y College, D u b l i n . 28 29

Anthony Wood, MS Biographical Notes on Musicians, Anthony Wood, op. cit., folio 16.

[

I0

9 ]

folio in.

ELIZABETHAN

MUSIC

T h e words and music of his madrigals are wedded together with care and quaint pictorial expressiveness. 3 0 JOHN BENNET'S set was published in 1599. a1

Bennet and

Edward

Pearce contributed several light part-songs to Ravenscroft's A Discourse

Briefe

in 1614. Pearce had been his choirmaster at St. Paul's, and as

theatrical coach evidently k n e w h o w to please the popular taste. W h y Ravenscroft should have called on Bennet rather than any one of a dozen others it is impossible to say. But Bennet's madrigals, including the one in the Oriana set, had been mostly bright and gay, and Ravenscroft wanted such as examples. In the Preface to A Briefe

Discourse

we

read, T h e second I name, as partner in this worke, is Maister John Bennet, a Gentleman admirable for all kind of Composures,

either in Art, or

Ayre,

Simple or Mixt, of what nature soever. I can easily beleeve he had somwhat more than Art, even some Naturall

Instinct or Better Inspiration,

by which,

in all his workes, the very life of that Passion, which the Ditty sounded, is so truely exprest, as if he had measured it alone by his owne Soule, and invented no other Harmony,

than his owne sensible feeling in that

Affection

did affoord him. H e also harmonized five psalm tunes in Ravenscroft's Psalter ( 1 6 2 1 ) . H i s madrigals, though creditable, do not rank a m o n g the best examples of their kind. RICHARD CARLTON (C. 1 5 5 8 - 1 6 3 8 ) published his single set in 1 6 0 1 : Madrigals Batchelor

to Five

voyces: Newly

of Musique.

Little Saint Helens.

London.

published

Printed

1601 Cum Privlegio

by Richard

Carlton

Preist:

by Thomas Morley,

dwelling

[sic] ad imprimendum

solum.

in

W i t h one printer's error on the title page and several in the L a t i n dedication it w o u l d seem that the daring discords imputed by F e l l o w e s to both insufficient technique and printer's errors might be due chiefly to 30 31

And see Dr. Fellowes' comments in Grove, Grove, i, 340.

[no]

i. 242.

MADRIGALS the latter. It m a y be f a n c i f u l to conjecture that C a r l t o n w a s a m a n of conservative tastes merely because of the lines he chose f o r his

first

madrigal: Yet find I not that love of change in me But as I am so will I always be, but his music has a m o r e distinctly m e d i e v a l a n d m o d a l flavor about it than that of s o m e of his m o r e progressive c o n t e m p o r a r i e s . MICHAEL CAVENDISH (C. 1 5 6 5 - 1 6 2 8 ) , probably a musical a m a t e u r , issued in 1598 an a d m i r a b l e set of twenty ayres a n d eight m a d r i g a l s . T h e o n l y k n o w n copy w a s discovered as late as 1918, a n d is n o w in the British M u s e u m . In the dedication to his second cousin, L a d y

Arbela

Stuart, 3 2 he writes like a " p o o r relation," t h a n k f u l f o r small f a v o r s . MICHAEL EAST 33 (c. 1 5 8 0 - 1 6 4 8 ) had seven sets of his compositions published w i t h o u t m a k i n g m u c h impression upon the history of music. O n l y the first f o u r w e r e m a d r i g a l s w i t h w o r d s . T h e publisher of his first set w a s the busy music printer T h o m a s E a s t . If he w a s Michael's f a t h e r , Michael's start t o w a r d f a m e is e x p l a i n e d . In the dedication of the f o u r t h set ( 1 6 1 9 ) to R o b e r t , E a r l of E s s e x , a f t e r some c l u m s y c o m pliments he m o r e neatly begs h i m to Vouchsafe therefore your honored name, to help to grace this heavenly Scicnce, which is the chicfest, and most innoccnt of all pleasures, which was one of the first Arts in which we praise God, and shall be the last. JOHN FARMER issued a solitary set in 1599. H e says he has " f i t l y linkt M u s i c k e to N u m b e r , 3 1 as each g i v e to other their true e f f e c t , w h i c h is to m a k e delight, a virtue so s i n g u l a r in the Italians, as u n d e r that ensign o n l y they h a z a r d their h o n o r . " In accordance w i t h this p r o n o u n c e m e n t 32 L a d y Arbela or Arabella Stuart was K i n g James's first cousin, and w o u l d have succeeded him had he died childless. 33 T h e first three sets ( 1 6 0 4 , 1 6 0 6 , 1 6 1 0 ) successively spell the composer's name Este, Est, and Eastc. 34

Poetry.

[Ill]

ELIZABETHAN MUSIC he has evidently tried to make his music melodious and attractive. M o r e important than his madrigals were his book of canons—Divers and dry waies of two parts in one35—and in East's Whole Boo!{ of Psalms

sun-

his harmonizations of psalm tunes

( 1 5 9 2 ) , to which he contributed more

than any other composer, Kirbye coming second. In 1591 F a r m e r was living in L o n d o n near the Royal Exchange. Later he w a s organist of Christ Church Cathedral, Dublin, for a period, and according to Grattan Flood was offered substantial pecuniary inducements to stay, but in 1599 the attractions of London induced him to return there. GILES FARNABY

wrote a set of excellent madrigals (1598) under the

title of Canzonets

to foure voyces with a Song of eight parts. L i k e his

still greater virginal pieces, they are highly original, harmonically most daring, and expressive. T h e y are neatly dedicated, in a manner characteristic of the composer's vigorous mind, to "Maister

Ferdinando

Heaburn, Groome of her Majesties Privie C h a m b e r " : Pithy and pleasaunt was that invention of our auncient English poet Jeffray Chaucer, in his booke intituled the parliament of Birdes wherein hee describeth the straunge and sweete harmonie amonge the fowles of all kindes, no one refusing to utter such melodie as nature in her course affoorded. The consideration whereof (right worshipfull) emboldneth me to shew my simple skill in these poore Canzonets. Although many excellent and famous musicions have set foorth in Impression many and excellent workes, yet as the sillie sparrow presumeth to chirpe in presence of the melodious nightingall, so bluntly and boldly as a poore member among the musicall sort, I make bold to intrude these sillie works as the first fruits of my labor . . . H a d Farnaby read the Parliament

of Fowls?

Quite possibly, even

though Chaucer's phraseology is slightly different. Chaucer names both birds in the same line:

35

The sparwe, Venus sone; the nyhtyngale,

(351)

That clepeth forth the grene leves newe;

(352)

See p. 262.

[112]

MADRIGALS but makes no comparison between them, and does not mention the sparrow's song. 86 Sir Ferdinando Heybourne (c. 1558-1618) had been a pupil of Tallis, and was an amateur composer under the name of Ferdinando Richardson; under that name too he wrote a long Latin poem for Tallis and Byrd's Cantiones

. . . sacrae (1575). A monument bearing his effigy

in the parish church of Tottenham, Middlesex (where he is buried), 57 recorded that "he wayted at the feete of Q. Elizabeth of famous memorye, and our Soveraigne Lo. K i n g James in their privie chamber. He was a careful majestrate without respect of persons, and a true friend of the cause of the poore." There is no reference to music. His use of a nom de plume, and his apparent disinclination to be known as a composer are unique in the musical history of the period. The dedication to Farnaby's set is followed by four disappointing poems in praise of the composer. Their authors were all men of some prominence. Antony Holborne was a courtier and expert lute maker, Allison was the madrigal composer already mentioned, Dowland was the famous lute player, and H u g h Holland was a Cambridge don and poet. Holborne's neat Latin distichs laud Farnaby in general terms, Allison's English verses record that Farnaby published his madrigals only after much persuasion by his friends. The other two poems are quoted as curious specimens: M. lo. Dowland

to the

Author

Thou only shalt have Phyllis, Only thou fit (without all further gloses) Crouned to be with everlasting Roses, With Roses and with Lillies, And with Daffadoundillies, 59 T h e only other references to Chaucer in Elizabethan musical literature are made by the poet-composer Thomas Campion and the learned Thomas Morley; see pp. 1 3 3 , 150 n. 57 Robinson, History of Tottenham ( 1 8 4 0 ) , ii. 42.

["3]

ELIZABETHAN MUSIC But thy songs sweeter are (save in their closes) Than are Lillies or Roses: Like his that taught the woods sound Amaryllis. Goldings: you that have too too38 dainty noses, Avaunt, go feede you them elsewhere on roses. M. Hu. Holland to the Author I would both sing thy praise, and praise thy singing: That in the winter nowe are both aspringing. But my Muse must be stronger, And the daies must be longer, When the sunne's in his hight with y[e] bright Barnaby39 Then should we sing thy praises gentle Farnaby. ORLANDO GIBBONS

(1583-1625) wrote The First Set of Madrigals

and

Mottets of 5 Parts: apt for Viols and Voyces. It appeared in 1612. T h e dedication mentions "these harsh notes," "my want of abilitie," "their imperfections." Such stock expressions mean little. The madrigals are contrapuntal and severe but most able. He was better known as an organist and by his music for the church and-for viols and virginals. THOMAS GREAVES

in 1604 published a less important collection con-

taining both ayres and madrigals. Of five prefatory poems in his honor only the last is of interest. T h e initials " R . B . " are insufficient to prove that Richard Barnfield wrote it, but it is not unworthy of him: Said Pithagor true, that each man's severed soule Must be a Pilgrime? then if ere [e'er] thou dye, Thy spirit must not drinke of Lethes boule, But into a silver plumed Swanne shall flye, That though thou diest, it may inshrined be In her that is th' embleme of Harmony. R. B. Sic. Barnaby-bright was St. Barnabas' day, June n t h , the longest day of the year by the Old Calendar, and mentioned by Holland because he could not find any other rhyme. 38

88

[114]

MADRIGALS JOHN HILTON

(1599-1657; publ. 1627) was probably the son of the

John Hilton who contributed a madrigal to The Triumphes of Oriana. T h e 1627 set (Ayres, or Fa Las for Three Voyces) was republished in 1644, but not in Fellowes' English Madrigal School (1913-24). It was dedicated to Dr. Heather in the last year of his life as "but a drop which I receiv'd from you the Fountaine"—another tribute to that unusual man. Hilton did his best work in the time of Charles I. Anthony Wood picturesquely wrote of him 40 that H e died in the time of O l i v e r , and w a s b u r i e d in the G r e a t Cloysters at W e s t m i n s t e r ; at w h i c h t i m e the s i n g i n g at burials being silenced, as popish, the F r a t e r n i t y of M u s i t i a n s w h o intended to s i n g h i m to his g r a v e , sang the A n t h e m in the H o u s e over the corps b e f o r e it w e n t to the c h u r c h , and k e p t t i m e on his coffin. 4 1

Hilton, however, was not actually buried in the Abbey, but close by in St. Margaret's, of which he had been the organist. EDWARD JOHNSON contributed a madrigal to The Triumphes of Oriana ( 1 6 0 1 ) , but furnished no printed set. T h e delight his music afforded Queen Elizabeth at Elvetham has been mentioned. 42 H e also was engaged by the Earl of Leicester to supervise the musical arrangements for the visit of Queen Elizabeth to Kenilworth. 48 Meres names him in his list of England's sixteen finest composers. ROBERT JONES in 1607 published The First Set of Madrigals of J.4.5.6.j.8 Parts. The set is of little practical importance because only two of the part-books seem to have survived. Nine of the madrigals have been printed in The English Madrigal School because they exist complete in manuscript. In his dedication he mentions that Plato and Aristotle stress 40

Grove, ii. 634. We can picture the scene, with the conductor tapping out the time with his long, heavy baton upon the coffin, instead of on the floor, as he would ordinarily. 12 See p. 8. 48 Gage, History of H engrave, 1822. See the article by Flood, Musical Times, 1927, p. 126. 41

[115]

ELIZABETHAN MUSIC the importance of music in education, "and Cicero reporteth, that although Themistocles was endowed with many graces, yet was hee the lesse esteemed, being ignorant thereof," and "though the death of Nero was exceeding joyfull to the people, yet was it much lamented, that his excellency in Musicke should perish with him." The Triumphes

of

Oriana contains one of his madrigals. He was more important as a composer of five books of ayres. In addition he was a theatrical manager. GEORGE K I R B Y E

Set of English

(d. 1634; publ.

Madrigalls

1597).

In his dedication of The First

to 4.5. & 6. voyces he says that he need not

praise music, even if he could—"besides that many learned men have learnedly written in commendation thereof"—for . . . the examples of times past, and our owne experience every day, doth give sufficient testimonie both of the pleasure & profit that it bringeth to a distressed & melancholy mind. Also I think it convenient not to answere (otherwise than with silence) to those (more sencelesse than brute beastes) that with open mouthes doe in-veigh, & speak all the evill they can against that excellent knowledge. But it standeth mee in hand, rather to crave pardon, for this my boldnes, in putting to the view of so many learned Musitions (which this age & Realme affordeth) these first fruites of my poor knowledge in Musicke . . .

A t his death he bequeathed his music to his maid, who sold it for forty shillings. W e know that it contained a number of "Italian & Latin songs to 5 and 6 voyces" by good composers, for copies were made by a Thomas Hamond and are to be seen in the Bodleian Library. 44 Kirbye, Morley, and Wilbye are practically the only Elizabethan composers about whose musical possessions and reading anything detailed is 44 B o d l e i a n , M S M u s . f. 1—6. T h e m a d r i g a l s a n d m o t e t s f o r five voices a r c b y Fells ( 1 5 ) , Vccchi ( 9 ) , P e v c r n a g e ( 7 ) , A l f o n s o F e r r a b o s c o ( 6 ) , Philips ( 6 ) , Bona ( 4 ) , " G i n . F r a . v i o l a n t i " [ d e l t a V i o l a ? ] ( i ) , Stabile ( 1 ) , R c n a k l o P a r a d i s o ( 1 ) , a n d T h o m a s L u p o ( 1 ) ; t h o s e for six voices, by F a b r i t i u s ( 2 0 ) , F c r r e t t i ( 5 ) , Felis ( 3 ) , Philips ( 0 . « ì à Minor J(1

7 8 9

10

Ua>sr Ml Hajor ( 4

T h e seventh note, B b , has to be i g n o r e d because it sounds slightly out of tune in our Western m u s i c . 64

O c t a v e , m i n o r 7 t h , m a j o r and m i n o r 6th, perfect 5th, perfect 4th, m a j o r and m i n o r

3 d , and m a j o r 2 d .

[ 270 ]

MUSICAL THEORY e.g., that the q u a l i t y of the tone of a w i n d i n s t r u m e n t d e p e n d s s o m e w h a t on the " M a t t e r of the S i d e s of the P i p e , a n d t h e S p i r i t s i n t h e m c o n t a i n e d ; for in a Pipe, or T r u m p e t , of W o o d , a n d Brasse, t h e S o u n d w i l l be d i v e r s , " a n d he a d d s that a smooth s u r f a c e i m p r o v e s m u s i c a l tone. S o he p r e f e r s s t r i n g s of w i r e to those of g u t , a n d he c o n s i d e r s t h e tone of a w i n d i n s t r u m e n t w i t h its bore s l i g h t l y m o i s t e n e d m o r e "sole m n e , " b e c a u s e the bore is "a little m o r e E v e n a n d S m o o t h . " " G e n e r a l l y the S t r a i g h t L i n e , " as in r e c o r d e r s a n d flutes, " h a t h t h e c l e a n e s t a n d r o u n d e s t s o u n d , A n d the C r o o k e d the m o r e H o a r s e , a n d J a r r i n g . " S o the t r u m p e t h a s a " p u r l i n g s o u n d . " " I n F r o s t y W e a t h e r ,

Musick

w i t h i n d o o r s s o u n d e t h b e t t e r " b e c a u s e the w o o d or s t r i n g is d r i e r , a n d so m o r e p o r o u s a n d h o l l o w . " A n d w e see that O l d L u t e s s o u n d better t h a n N e w , for t h e s a m e r e a s o n . " T h i s is p r o b a b l y t r u e . H e

finds

that

s i n g i n g i n the h o l e of a d r u m m a k e s the s i n g i n g m o r e s w e e t . H e recommends

it, b u t s u g g e s t s that " f o r h a n d s o m n e s s e

sake" a

curtain

s h o u l d be h u n g b e t w e e n the d r u m a n d the a u d i e n c e . It is easy for u s to s m i l e at B a c o n ' s m i s t a k e s , just as a n y schoolboy t h r e e h u n d r e d y e a r s h e n c e w i l l l a u g h at ours. B a c o n c o u l d h a v e m a d e i m p o r t a n t d i s c o v e r i e s a n d i n v e n t i o n s if he h a d used e v e n t h e scientific a p p a r a t u s of h i s o w n t i m e a n d h a d p e r c e i v e d the v a l u e of a c c u r a t e c o m p u t a t i o n a n d m e a s u r e m e n t . F r o m the c o m m o n p e n d u l u m

he could

h a v e i n v e n t e d the m e t r o n o m e , f r o m e x p e r i m e n t s w i t h the p i t c h of a n v i l s the t u n i n g f o r k . Y e t w e m u s t m a r v e l at the vast i n t e r e s t s of the m a n , w h o c o u l d t a k e the t r o u b l e to s o u n d t o n g s u n d e r w a t e r , w h i s t l e t h r o u g h a c a n n o n , c o m p a r e the tone of g o l d , silver, a n d brass bells, a n d observe that t w o voices i n u n i s o n c a n n o t be h e a r d t w i c e as f a r as o n e . A n d to quote Dr. Felix E. Schelling, Bacon's role w a s less that of an investigator than an appraiser of h u m a n accomplishment a n d a g u i d e with his face towards the future. J u d g e d by w h a t he accomplished, not what he missed, he remains a very great m a n .

[27l]

X

The «JMusician Himself I T

r e m a i n s to s p e a k of the c o m p o s e r s as h u m a n b e i n g s — w h a t sort of p e r s o n s they w e r e , h o w they g a i n e d their m u s i c a l e d u c a t i o n

e a r n e d their l i v i n g , a n d w h e t h e r they w e r e sufficiently interested

and in

o t h e r p r o v i n c e s of k n o w l e d g e than m u s i c to be w o r t h v citizens of a great country. It m u s t be a d m i t t e d at the outset that o u r p e r s o n a l k n o w l e d g e of t h e m is v e r y scanty, so m u c h so i n d e e d that the year a n d place of birth of but f e w of the c o m p o s e r s is k n o w n w i t h c e r t a i n t y . C o n s e q u e n t l y w e are u s u a l l y i g n o r a n t of such s i g n i f i c a n t facts as their h e r e d i t y , e d u c a tion, a n d f r i e n d s h i p s . P r o b a b l y m a n y of t h e m w e r e c h o i r b o y s . R a v e n s c r o f t w a s a c h o i r b o y u n d e r P e a r c e , o r g a n i s t of St. P a u l ' s . O r l a n d o G i b bons as a b o y s a n g in the choir of K i n g s C o l l e g e , C a m b r i d g e , u n d e r his b r o t h e r , E d w a r d G i b b o n s . B u l l w a s in the C h a p e l R o y a l u n d e r Blithem a n , a n d B y r d w a s said to h a v e been a c h o i r b o y at St. P a u l ' s . T h o m a s T o m k i n s , J o h n M u n d y , the y o u n g e r F e r r a b o s c o ,

He,

Nathaniel

G i l e s , a n d H i l t o n w e r e sons of m u s i c i a n s . C a m d e n a n d H e a t h e r , w h o f o u n d e d the f a m o u s chairs of history a n d m u s i c at O x f o r d , are reputed to h a v e b e e n c h o i r b o y s , a n d it has been c o n j e c t u r e d that their f r i e n d s h i p c o m m e n c e d at that time. M o r l e y a n d T h o m a s T o m k i n s w e r e pupils of B y r d . There

w e r e , h o w e v e r , t w o h o n o r s that the c o m p o s e r s of the

p r i n t e d a f t e r their n a m e s w i t h such r e g u l a r i t y as to s h o w h o w

day

much

they v a l u e d t h e m . O n e w a s the d e g r e e of either B a c h e l o r or D o c t o r of M u s i c f r o m O x f o r d or C a m b r i d g e . A t C a m b r i d g e the

first

recipient of the d e g r e e of D o c t o r of M u s i c w a s a T h o m a s

recorded Saintwix,

w h o took it a b o u t 1463, a n d at O x f o r d the i m p o r t a n t c o m p o s e r R o b e r t F a y r f a x , 1 5 1 1 . T h e first r e c o r d e d b a c c a l a u r e a t e d e g r e e s in m u s i c w e r e

[272 ]

I N T E R I O R O F ST. PAUL'S: T H E

CHOIR

THE MUSICIAN

HIMSELF

a w a r d e d t o w a r d the e n d of the fifteenth c e n t u r y , but such d e g r e e s m a y have been g r a n t e d to others m u c h earlier. T h e U n i v e r s i t y of

Dublin,

f o u n d e d 1 5 9 1 , g a v e its first m u s i c a l degree to T h o m a s Bateson, the m a d rigal c o m p o s e r , in 1 6 1 5 . F o r such d e g r e e s at O x f o r d a n d C a m b r i d g e no examinations

were required, and

no lectures g i v e n , but an

original

c o m p o s i t i o n a n d testimonials as to m u s i c a l study and practice

were

necessary. W h a t w e w o u l d call a n h o n o r a r y doctorate w a s g i v e n

to

W i l l i a m H e a t h e r , because he f o u n d e d a p r o f e s s o r s h i p in music. H e w a s not a c o m p o s e r . W e d o not k n o w if any other h o n o r a r y degrees w e r e c o n f e r r e d , but if they w e r e , the recipients w e r e c o m p o s e r s a n d had to submit the r e q u i r e d c o m p o s i t i o n s . V a r i o u s applicants w e r e r e f u s e d degrees. A

university's w r i t t e n p e r m i s s i o n f o r the d e g r e e w a s called a

" G r a c e . " 1 It stipulated the k i n d of c o m p o s i t i o n that the c a n d i d a t e must submit a n d recorded the n u m b e r of years he h a d spent in the practice of m u s i c . T h i s last i n f o r m a t i o n g i v e s us s o m e idea as to w h e n the composer w a s b o r n . O t h e r w i s e , these G r a c e s lack interest. T h e title of D o c tor is usually p r e f i x e d in E l i z a b e t h a n b o o k s to the n a m e s of those holdi n g that h o n o r , but the appellation " M a s t e r " so o f t e n f o u n d w a s merely a token of respect. T h e d e g r e e of M a s t e r of M u s i c , w h i c h has occasionally been g r a n t e d in recent years at C a m b r i d g e but never at O x f o r d , did not exist in E l i z a b e t h a n times. Recipients of musical degrees w e r e usually at least thirty years of age. D o w l a n d and John M u n d y

were

y o u n g to receive their bachelor's degrees w h e n they w e r e about t w e n t y six. M u n d y w a s not m a d e a D o c t o r of M u s i c until he w a s over sixty. I m p o r t a n t c o m p o s e r s to hold music degrees f r o m O x f o r d w e r e

Bull,

J o h n D a n i e l , D e r i n g , F a r n a b y , N a t h a n i e l G i l e s , J o n e s , M o r l e y , Peerson, P i l k i n g t o n , T h o m a s T o m k i n s , V a u t o r , and W e e l k e s ; and F a r m e r , Fayrfax, Edward

and O r l a n d o G i b b o n s , J o h n H i l t o n the

Younger,

E d w a r d J o h n s o n , R a v e n s c r o f t , T y e , a n d R o b e r t W h i t e took s i m i l a r degrees at C a m b r i d g e . 1

T h e G r a c e f o r T y e ' s B a c h c l o r of Music d e g r e e has been q u o t e d o n p. 68, footnote.

[ 2 73 ]

ELIZABETHAN MUSIC T h e other highly valued honor was membership in the Chapel Royal. Gentlemen of the Chapel Royal included F a y r f a x , Cornyshe, 2 Tallis, Byrd, Robert Parsons, Morley, Bevin, W i l l i a m Mundy, Orlando Gibbons, T h o m a s T o m k i n s , and Nathaniel Giles. M e n like T h o m a s T o m kins were m e m b e r s without actually living in London, and it was the selection of such men as he that made membership in the Chapel Royal so highly prized. It is not possible now to reconstruct a picture of the exact duties of even the men of the Chapel Royal from day to day, and to do so for the composers in general would be still more difficult. M a n y were organists of cathedrals, such as Bateson, Bull, Byrd, Bevin, Michael East, F a r m e r , Ellis Gibbons, Morley, Pattrick, T h o m a s T o m k i n s , and W e e l k e s . O r l a n d o Gibbons was one of the organists of the Chapel Royal and, at the end of his life, of Westminster Abbey. Others were choirmasters, or organists in less exalted positions, e.g., Carlton, the Hiltons, John Mundy, Peerson, Pilkington, Porter, Ravenscroft, and Y o n g e . S o m e were merely c h o i r m e n — " s i n g i n g m e n " was the quaint term—such as Parsley, and the learned copyist John Baldwin. Lutenists were in demand, since one of them could entertain a company by singing and playing at the same time. Such were J o h n and Robert D o w land, Daniel, Robinson (at the court of D e n m a r k ) , Greaves (in a rich household), and Maynard (in a school). S o m e rich men loved music sufficiently to keep one or more musicians regularly in their employ. Such were likely to be lutenists, as D a n i e l and Greaves, but we are not certain regarding some of the following "household musicians" whether they were singers or players: E d w a r d Johnson, w h o superintended the music for the Earl of Leicester during the famous visit of Queen Elizabeth to K e n i l w o r t h , Kirbye, V a u t o r , W a r d , W i l b y e , and Youll. T h e lutenist John Cooper ( C o p r a r i o )

instructed Prince H e n r y Stuart in

2 Robert Fayrfax (d. 1 5 2 1 ) was the leading English composer of his generation. William Cornyshe (c. 1465—1523) " w a s a noted composer, playwright, actor, and pageant master (and, curiously, on occasion, provider of guttering, paving, and even sanitary conveniences) about the court of Henry V I I I " (Dr. Percy A. Scholes, The Oxford Companion to Music, 1938, p. 2 3 2 ) .

[274]

THE

MUSICIAN

HIMSELF

music, and F o r d was o n e of the prince's players or singers. T h a t musicians were often poorly r e c o m p e n s e d for their labors was attested by Weelkes, w h o wrote that "povertie hath debarred t h e m their

fellow

arts m e n s c o m p a n i e . " 3 S o far as c o m m e n t s h a v e c o m e d o w n to us, l e a d i n g m u s i c i a n s w e r e highly respected. T h i s was certainly true of Tallis, B y r d , a n d Case. T h e B r i t i s h M i n i s t e r to B r u s s e l s m a d e s o m e s c u r r i l o u s c h a r g e s a g a i n s t B u l l , but

as B u l l

shortly

afterwards

was

appointed

organist

of

Antwerp

C a t h e d r a l , a n d h a d p r e v i o u s l y s e r v e d as o n e o f t h e o r g a n i s t s o f C h a p e l R o y a l for t w e n t y y e a r s w i t h d i s t i n g u i s h e d

honors from

Q u e e n E l i z a b e t h a n d K i n g J a m e s , it is h a r d t o c r e d i t t h e m .

the both

Anthony

W o o d w r o t e t h a t N a t h a n i e l G i l e s " w a s n o t e d f o r h i s r e l i g i o u s life a n d Conversation

( a r a r i t y in M u s i c i a n s ) , " b u t W o o d lived a f t e r t h e

Res-

t o r a t i o n . M a n v c o m p o s e r s r e f e r r e d w i t h a p p r e h e n s i o n to t h e c r i t i c i s m they expected would greet their w o r k s , a n d there c o n s e q u e n t l y have been considerable

jealousy a m o n g

musicians. Morley

must

mentions

this in t h e f o l l o w i n g i m a g i n a r y d i a l o g u e : Polymathes

[to his Master, M o r l e y ] : W h e r e a s you justly complainc of the

hate and backbiting a m o n g s t the musicions of o u r countrey, that I knowe to bee most true, and speciallie in these young fellowes. 4 D o w l a n d was angry w h e n H u m e c l a i m e d that the viola da g a m b a was as fine an i n s t r u m e n t as t h e l u t e , a n d M o r l e y c r i t i c i z e s b o t h t h e o r g a n p l a y i n g in S t . P a u l ' s a n d t h e b o o k o n t h e o r y p u b l i s h e d b y W i l l i a m B a r ley. B u t t h e s e s e e m t h e o n l y r e c o r d e d i n s t a n c e s o f s p e c i f i c c r i t i c i s m b y one E l i z a b e t h a n composer of a E n g l i s h c o n t e m p o r a r y , a n d here neither H u m e n o r B a r l e y is m e n t i o n e d b y n a m e . C o m p o s e r s r e f e r to e a c h o t h e r by n a m e o n l y in t e r m s o f p r a i s e . O n t h e o t h e r h a n d w e h e a r little o f friendships between the composers. T h a t between T a l l i s and Byrd was remarkable. Morley always spoke of his teacher B y r d with 3 1

Weelkes, Balletts and Madrigals to five voyces, 1598. Morley, A Plain? and Easie Introduction, p. 150.

[275]

reverence.

ELIZABETHAN MUSIC T h e distinguished composer and organist Peter Philips studied music under Westcote, the organist of St. Paul's Cathedral, and lived in his house. L i v i n g with one's master was characteristic of the 'prenticeships of the time, and the incident points to the possibility that this custom extended to students of music. Westcote left his pupil ¿ 5 . 1 3 ^ . 4 d . in his will. 5 B y r d and the elder Ferrabosco were on friendly terms, and perhaps T y e and T a v e r n e r , if any significance is to be attached to the fact that a motet " O Splendor G l o r i a e " was begun by the f o r m e r and finished by the latter. Watson and B y r d were so grateful to J o h n Case for effectively c h a m p i o n i n g the cause of music that they wrote the words and music of the madrigal in his honor and had it published. M a n y musicians were interested in other subjects besides music, and a number attained distinction in these fields. Several were students or " d o n s " at the universities. John Shepherd, w h o composed notable church music in the early part of the sixteenth century and died about 1563, was Organist and F e l l o w of M a g d a l e n College. H e m a y never have been a university student, but the college authorities evidently considered h i m a m a n of good j u d g m e n t . Bathe studied at O x f o r d , but does not seem to have received any degree. John Case held the degree of Doctor of Medicine f r o m O x f o r d and w a s a F e l l o w of St. John's College. C a m p i o n was F e l l o w of Peterhouse, C a m b r i d g e , and a " D o c tor of Physic," a distinction which he must have received

abroad.

D o w l a n d may possibly have attended T r i n i t y College, D u b l i n , but whether he did or not he acquired a remarkably adequate education somewhere on his journey through life. F l u d received f r o m O x f o r d the degrees of Bachelor of Arts, Master of Arts, Bachelor of Medicine, and Doctor of Medicine. Watson studied poetry at O x f o r d and law in L o n don. Charls Butler was a Master of A r t s of C a m b r i d g e University. Several of the lesser composers were c l e r g y m e n — T y e , F a r m e r , Carlton, Marson, T h o m a s M u d d , and Pilkington. Most of these w e r e musicians 5

Grattan Flood, The Musical Times

for 1 9 2 5 , p. 7 1 8 , and 1929, p. 3 1 2 .

[276]

T H E MUSICIAN H I M S E L F first and clerics afterwards, but Carlton got his Bachelor of Arts degree at Clare College, Cambridge, in 1577, and M u d d (not the John M u d d that Peacham names as one of the sixteen excellent musicians of England) was a Fellow of Pembroke Hall there. T h e epitaph to John T h o r n e (c. 1 5 2 0 - 1 5 7 3 ) , organist of Y o r k Cathedral, mentions his skill in logic. W o o d mentions the excellence of Morley and B y r d in mathematics, which the former learned from the latter. D o w l a n d made a felicitous translation of Ornithoparcus' Micrologus

into English. Morley

owned a Greek lexicon and could use it, and he criticizes incorrect G r e e k etymology and scansion. As in the modern British tradition, the composers of Elizabeth's reign wore their learning both modestly and lightly. T h e connection of Richard Edwards, Richard Farrant, Robert White, Hunnis, Giles, Westcote, Pearce, Jones, and Daniel with the theatre has been cited in Chapter V I I , although they were primarily musicians. Nicholas Laniere, Master of

the K i n g ' s

Musick

under

Charles I and II, was an excellent connoisseur of art, and bought pictures in Italy for Charles I. But of all the musicians C a m p i o n astonishes us most, through both the extraordinary variety of his accomplishments and his proficiency in each. H e studied law, and wrote both poetry and music of outstanding excellence, together with technical treatises dealing with the latter two subjects, also a considerable quantity of Latin verse; yet medicine was his profession, and he achieved contemporary recognition in that field as well as in music and poetry. Indeed, a remarkable number of the composers were either passable poets or at least capable judges of poetry. Antony Holborne, w h o was a lutenist and gentleman usher to Queen Elizabeth, Allison, Cooper, D o w l a n d , Leighton, Peerson, and Watson, all have left us samples of agreeable verse, and Richard E d w a r d s was a prominent poet and dramatist of his time. Weelkes regretted that music was his only talent: "this small facultie of mine . . . is alone in mee, and without the assistance of other more confident sciences"; yet he wrote excellent dedications to his works. T h e dedication by Farnaby in which he mentions Chaucer

[277]

ELIZABETHAN M U S I C

is neat. T h e poetry of the ayres is superior to that of the madrigals, possibly because the composers k n e w that doggerel could not escape detection w h e n pronounced by a single voice; but in both cases the quality of the words is usually satisfactory. T h e texts set by Bateson a n d W a r d are particularly good. At least five of the m e n were even able to write Latin verse. These were C a m p i o n , D o w l a n d , Byrd, Antony Holborne, and N a t h a n i e l T o m k i n s . On the other hand, only three composers can be named w h o wrote clumsy E n g l i s h — W h y t h o r n e , T h o m a s T o m k i n s ( w h o as a linguist was strangely inferior to his brother N a t h a n i e l ) , and old Dr. T y e . T y e , music master to E d w a r d VI, wrote reams of doggerel, and w a s a clergyman but a poor preacher. Fortunately the musical compositions of both T o m k i n s and T y e are sufficiently admirable to atone for their literary deficiencies. It is just possible that the oblivion which e n g u l f e d W h y t h o r n e ' s m a d r i g a l s w a s partly due to the wretched English of their preface. Enough has been said to show the varied accomplishments and interests of a considerable number of the Elizabethan musicians. Their associations with the court, the theatre, the cathedrals, and the universities brought them in contact with stimulating and varied influences. They f r a n k l y admired the music of Italy a n d learned from it, yet they never composed to Italian words, but wrote characteristically English music, each in his own original style. W o u l d that all later English composers had followed their example.

[278]

XI

Finale N the early sixteenth century Castiglione described the ideal Courtier

I

with his proficiency in the arts, and this ideal was wisely accepted

by the English. Years passed, and during the reigns of the first two Stuarts musical taste changed, but not for the better. Interest in madrigal singing fell away, and in the reign of Charles I the sharp decrease in music publishing betokened a declining regard for serious music. When Cromwell rose to power the madrigal and ayre were already a memory, but a second and final flowering of music for viols took place —music that depended on the never-failing interest of well-written counterpoint and beauty of line for its effect, not upon incisive rhythm or sheer weight of sound. T h e Restoration brought back a Stuart, but not the music of his forefathers. John Evelyn wrote in 1662: Instead of the ancient, grave, and solemn wind musique accompanying the organ, was introduced a concert of twenty-four violins between every pause, after the French fantastical light way, better suiting a tavern or playhouse than a church. For a time little flourished but the fashions of France, and Charles himself set the example for the nation by admiring only music to which he could keep time with his foot. T o w a r d the close of the century Purcell provided an inspiring interlude, but after him came unpopular foreign kings, a foreign composer, and foreign singers. For the depressing finale let us turn to the words of the Sir Walter Raleigh of our own century: The steady decadence of the English Court, in power and splendor, inevitably wrought a gradual emaciation in the ideal of the Courtier. When Lord Chesterfield attempts to make a perfect Courtier of his son, the

[ 2 79 ]

ELIZABETHAN

MUSIC

changed conditions are felt at every line. . . . W h e r e the men of the Renaissance hold that the perfect Courtier should be versed in all generous accomplishments, a warrior, a man of letters, a statesman, and skilled in all arts and pastimes, Lord Chesterfield makes it the duty of the man of fashion to be unable to do most things. "If you love music, hear it; go to operas, concerts, and pay fiddlers to play to you; but I insist upon your neither piping nor fiddling yourself." T o strike a h a p p i e r note in conclusion, let us r e t u r n to our sixteenth c e n t u r y a n d quote C a s t i g l i o n e ' s o w n description of his ideal C o u r t i e r : And the Counte beginning a freshe: My Lordes (quoth he) you must know I am not pleased with the Courtyer if he be not also a musitien, and besides his understanding and couning upon the booke, have skill in lyke maner on sundrye instruments. For yf we waie it well, there is no ease of the labours and medicines of feeble mindes to be founde more honeste and more praise worthye in tyme of leyser than it. Do ye not then deprive our Courtyer of musicke.

[280]

c_Appendix A T H O M A S W H Y T H O R N E ' S P R E F A C E T O HIS S E T OF MADRIGALS,

1571

Of Musick though the chief knowledge hath long time hindered been, Because vertu not be'ing maintained, soon ceaseth it is seen, Yet through the good zeal of a few, who therein pleasure took, N o costs nor pains, it to preserv of long time they forsook, Beside our princes charge of late to have it eft renew'd, With verte'ous rulers under her, whose willingness is shewd, Like loov of gentils and honest hath raizd it from low eb,

Part of the matteer or ditties that I have set heerto, T h e Psalter, or Psalms of David, I have them taken fro. T o the rest of this have I set (the base minds for to pleas) Such Sonets as I think will sum of their sowr dumps appeas, Devizd upon common chaunces, and out of worldly wurks, So, as the reason hath me taught, which in my rude hed lurks. Sum of them be Poeticall, sum Philosophical!, On sacred write, I made others to cumfort me withall, In which is toucht th' affects of youth, the like of riper yeers, Also of those that do decline, where cold old age appears. Since erst I sayd, that heer among my Sonets there be sum Poeticall, whose gods I uzd, as then in mind did cum:

Of Poetry thus here I end, my writing take at best, My pen heerafter from such toys, shall alway be at rest. This my said Musick made, do I, for voyces thus contrive, T o sum for thre, to most for four, and t'all the rest for five. [281]

ELIZABETHAN MUSIC Of these songs sum be short, sum long, sum hard, sum easi bi, And of both sorts between them both, ye shall emong them se, Heerin bi divers songs also, the which altred have I By mending of sum the Musick, of others the ditti, So that they be not now, as they were when I first them gave Out of my hands, abrode to serv their turns who now them have: Also becaws sum songs heer bi, whose trades1 perchauce b' unknown, Not onely to such who in skill of singing ar well grown, But eke to sum Musitians, who songs can well compose, (That name belongs to none others, though sum theron do glose) Eev'n such with the others (I say) I let them understand, That I, A traueller have been, in sundry forrein land: When I among the people did, a certaine time abide, Whose divers trades2 of Musick, part (although not all) I spide, But chiefly the Italian, emong the which is one, That called is Napolitane (a prety mery one)

What I cowld write in Musicke prays, I will at this time stay, And let you se what one famows, of that science doth say, I mean the wurthy gentilman, Doctor Haddon by name, Whose learned Muse, for Musicks sake, these verses thus did frame.

A third sort now I must heer towch, a sort of jangling jays, Whose spightfull pens, to scof and skowld, is prest at all assays, As Zoylus did to that Poet, who we do Homer call, So wold these Zoylings have vertew unto their pens be thrall, Therefore I say to the whole crew of all th'infected wights, Momus'

mates, and Zoylings

(foresayd) who be'in such peevish flights,

That easier t'is for sum to find fawts written that doth lurk Then it is for theim, theim t'amend and make perfect a wurk. 1

W a y s , i.e. they were not of a kind k n o w n in E n g l a n d .

2

W a y s , practices.

[ 282 ]

APPENDICES A n d easier it is for other s u m t'amend fawts that d o rise, T h a n out of their brains by study, for to m a k e or devise A new w u r k so great, and perfect in all points as that is, In which they can a m e n d the fawts, that they d o spy amis.

H e e r to conclude I say that I this wurk do not set owt T o greev any of those foresayd (of w h o m I m a y have d o w t ) But I d o it only therwith, G o d s prays ech wher to sing T o g e t h e r with heav'nly solas, to heavy harts to bring. F o r privat use of baser thoughts, not aspyring so hy, Which like to feed their fansies, all, on w u r k s that be wordly. T o recre'at th'over burdened, and sore afflicted minds, T o cumfort e k e the powrs and spreets, which man's helth brings and binds. A n d so consequendy to benefit ech part b'accord, Of those that d o delite to live, alway in trew accord. FINIS.

[ 2 8 3 ]

oAppendix B C A N T I O N E S S A C R A E by Tallis and Byrd, 1 5 7 5 . T h e L a t i n dedication by Tallis and B y r d , and Latin poems by Mulcaster and F e r d i n a n d o Richardson in honor of the music of Tallis and B y r d .

Serenissimae Principi Elizabethae Dei Gratia A n g l i a e Franciae ic Hiberniae Reginae Sec virtutis & vitae fortunatum progressum. Si nobis res esset, Serenissima Princeps, vel cum iis, qui artem M u s i c a m , quia non norunt, non probant, vel cum iis, qui ipsi iudicio ex arte carentes eius

praestantiam

admirabili

sonorum

effectu

metiuntur:

Philosophos,

Mathematicos, R e r u m pub. architectos advocaremus, qui eius necessarium Reipub. usum argumentis & experimentia, vel infensissimo Musici nominis hosti extorquerent: Poetas &c allegorice docentes q u o s d a m Physicos citare mus, qui a p u d homines imperitos illos q u i d e m , sed incredibili tamen rei Mus i c i admiratione delinitos facile impetrarent, cum ea arte nullam esse aliam quae de principatu possit contendere. Sed cum a p u d t u a m Maiestatem res agatur quae delectu tuo iudicium tuum prodidisti, &c canendi peritiam tibi probari, in eo probas omnibus, quod ei arti ita semper regie incubueris, ut in ea iam egregie profeceris, & cum summis artificibus comparata, vel vocis elegantia, vel d i g i t o r u m agilitate facile illis praemineas, satis erit in tua solius scientia & iudicio conquiescere, neque pluribus ad fidem rei faciendam argumentis uti, ne vel dubitando suspicionem ementitae laudis videamur alicui ingenerare, vel nimis curiosa argumentatione, aliquid de tuae Maiestatis praestanti iudicio detrahere, quasi vel parum consideratè earn primo complexa fueris vel iam de priori sententia vacillare coeperis, cui si nostram operam probamus, omnibus earn probatam iri confidimus, c u m iudicio tuo ab omnibus tantum tribuatur. Q u a itaque es peritia, Illustrissima Princeps, ad tuam Maiestatem, ut iudicem c o n f u g i m u s , qua d e m e n t i a ut ad patronam nos recipimus, quae prolem hanc nostram tua auctoritate sic a p u d omnes tueare, ut nos ipsos libéralissimo tuo stipendio hactenus aluisti. Confidentiae

[284]

T H E D E D I C A T I O N BY T A L L I S A N D B Y R D T O QUEEN

ELIZABETH

T O the Most Serene S o v e r e i g n Elizabeth by the g r a c e of G o d Q u e e n of E n g l a n d F r a n c e a n d Ireland &c a happy increase in fortitude a n d l e n g t h of days. If, your M a j e s t y , w e w e r e d e a l i n g either w i t h those w h o do not a p p r o v e of m u s i c because they are ignorant of it, or w i t h those w h o because they have no m u s i c a l taste j u d g e its excellence by its pretty sounds, w e w o u l d call in philosophers, m a t h e m a t i c i a n s , a n d statesmen w h o by a r g u m e n t s a n d actual tests w o u l d wrest f r o m even music's bitterest e n e m i e s a n a c k n o w l e d g m e n t that it is essential to the state; we w o u l d s u m m o n poets a n d certain n a t u r a l philosophers w h o teach allegorically, w h o w o u l d easily convince men l a c k i n g in skill indeed but captivated by their e x t r a o r d i n a r y a d m i r a tion for m u s i c , that no other art can compare w i t h m u s i c in importance. But since the m a t t e r is in the h a n d s of your M a j e s t y , w h o h a v e a l r e a d y g i v e n y o u r decision of y o u r own free will and prove to all that skill in singing is a p p r o v e d by you in that you have a l w a y s so devoted yourself royally to that art as to attain y o u r present r e m a r k a b l e proficiency in it a n d w h e n either artistic s i n g i n g or s k i l f u l p l a y i n g is the basis of comparison between yourself a n d the greatest performers you easily excel t h e m , I a m content to rest m y case before y o u r k n o w l e d g e a n d musical taste, a n d to use no f u r t h e r a r g u m e n t s to w i n your favor for fear that by our hcsitancy w e m a y seem to be a r o u s i n g the suspicion that our compositions a r e falsely praised, or by our excessive e x p l a n a t i o n s to be i m p u g n i n g the keenness of y o u r j u d g m e n t , as if you h a d e m b r a c e d that art w i t h too little consideration in the beginn i n g , or h a d n o w b e g u n to c h a n g e your m i n d ; if w e can convince you of the w o r t h of o u r w o r k w e feel sure it will be a p p r o v e d by all, y o u r j u d g m e n t is held in such h i g h esteem by everyone. Y o u r w i s d o m is so based on practical experience, Most Illustrious Sovereign, t h a t w e h a v e recourse to your M a j e s t y as to a j u d g e , y o u r k i n d n e s s is such that w e t u r n to you as to a patron, in order that y o u m a y protect this child of y o u r s by y o u r a u t h o r i t y before the w o r l d as you have so f a r supported us by y o u r most g e n e r o u s [285]

ELIZABETHAN MUSIC nostrac ignoscet Serenissima Maiestas tua, quòd t a n t u m principem sic ausi simus interpellare, c u m e solo voluntatis tuae testimonio pendeat, debeamusne ulterius in hoc genere progredì, an hoc u n o libro labores nostros terminare. Deus opt. M a x . Maiestatem t u a m diu, incolumiter, fortunate nobis conservet. T u a e Maiestatis h u m i l l i m i servientes, Tho. Tali. & G u i l . Birdus IN M U S I C A M THOM/E TALLISII, E T GVILIELMI BIRDI Q u a n t i sit precii res Musica, q u a m q u e regendis Insanis a n i m i motibus apta, docent, Qui n u m e r o s formae sedem cuiuslibet esse, E q u i b u s efficitur Musica forma, docent. Q u i d ! quod n e m o docet, q u o n a m Respublica pacto F o r m a n d a , & q u o n a m p r i m a inventa modo, Q u i n i d e m doceat, p r i m a m quod Musica sedem Obtineat, primo sitque docenda loco. Q u i d ? q u o d & insignes medici, qui sana valere Corpora, & a morbis ante tuenda docent H a e c duo c o m m e n d a n t nobis, ut corpora motus Conservet, m e n t e m Musica sana regat. C u m medicis, & philosophis annosa vetustas Conspirans hanc est tota sequuta v i a m . Sed n e q u e posteritas, q u a c u m nunc vivimus, illam N o n probat, aut a se prorsus abire iubet, Q u a m v i s certa loci, & r e r u m discrimina ponat, In q u i b u s hanc n i m i a m non placet esse sibi. H o c t a m e n obtinuit c o m m u n i Musica iure, V t q u o q u i s q u e sapit rectius, ornet e a m . H o c e t i a m obtinuit, quo s u m m o iure triumphet, Q u o vivet, q u a m v i s cactera mortis erunt, [286]

APPENDICES bounty. 1 Y o u r Most Serene Majesty will pardon our boldness in thus interrupting you for so long, for it depends entirely upon the evidence of your good will as to w h e t h e r we should proceed further in this k i n d of w o r k , or should end our labors with this volume. M a y G o d , supremely good and great, spare your Majesty to us for a long, safe, and happy life. Y o u r Majesty's most h u m b l e servants, THOMAS TALLIS a n d W I L L I A M BYRD.

Richard Mulcaster's Poem FOR

THE

MUSIC OF T H O M A S TALLIS

AND

WILLIAM

BYRD.

H o w valuable a t h i n g music is, and how useful for c h e c k i n g the m a d impulses of the m i n d , is shown by those w h o teach that n u m b e r s constitute the foundation of everything which has form, and that music is m a d e up of these. W h a t shall I say of the fact that no one teaches how the state should be regulated, and how it was originally b r o u g h t about, without his likewise t e a c h i n g that music should have the chief place of honor, a n d be taught above everything else? F u r t h e r m o r e , distinguished physicians, too, w h o teach m e n how to have healthy bodies and guard t h e m f r o m disease, advise these t w o t h i n g s — t h a t exercise should take care o f the body, and wholesome m u s i c govern the mind. H o a r y antiquity agreed w i t h the physicians and philosophers, and with one accord followed in their footsteps. B u t their posterity, w i t h w h o m we now live, does not approve o f it, or bids it utterly begone, though it does assign definite bounds of place and circumstance w i t h i n w h i c h it is u n w i l l i n g for music to b e c o m e too i m p o r t a n t . Nevertheless, music has won this m u c h by c o m m o n consent: that the wiser a m a n is, the greater honors he pays to music. It has even w o n this success, in w h i c h it m a y exult with the greatest justification, t h r o u g h w h i c h it will live t h o u g h other things die: her Majesty, the glory of o u r age, counts it 1 Stipcndium. This included Tallis and Byrd's monopoly on music printing, granted earlier that year, a lease of a Manor on the isle of Thanet to Tallis, and the salaries of both Tallis and Byrd as Gentlemen of the Chapel Royal.

[287]

ELIZABETHAN

MUSIC

R e g i a Maiestas aetatis gloria nostrae H a n c in deliciis semper habere solet. N e c contenta graves aliorum audire labores Ipsa etiam egregie voce m a n u q u e canit. H a n c aliae gentes, ut earn vel semper amarunt, AUSSE sunt scriptis nobilitare 2 s u i s . [ , ] Illustres animae, quia, q u a e cecinere scienter, N o n inviderunt o m n i b u s ilia cani. H a r u m nostra prius m a g n o s mirata labores A n g l i a , sed semper passa latere suos, T a l l i s i u m , B i r d u m q u e duces iam nacta lubenter, Q u a e peperit, patitur pignora luce f r u i : [ , ] A t q u e per externas gentes, quae gratia praelo, Iudicio artificum discutienda vehi. T a n t u m illis tribuit, quos primos deligit, ut sic, I u d i c i o patriae siquid honoris inest, N o m e n honoratum sibi promereatur uterque, Musica qua m a g n u m pervia n o m e n habet, Q u o r u m iudicio fidens se pandit aperte M u s i c a , q u a m Oceani R e g i a dives alit. RICHARDUS MULCASTERUS.

IN E A N D E M THOM/E E T GVILIELMI

BIRDI

TALLISII, MUSICAM.

E x t e r a quos genuit tellus, c u m nominis a l m a Musica praecones cerneret esse sui, I l l o r u m q u e opera per s u m m a cacumina laudum Se celebrem vulgo conveniente vehi: O r l a n d u m numeros divina voce sonare, E d e r e & i m m e n s i posteritatis opus, Suavia G o m b a r d u m m o d u l a m i n a fundere dulcem, C l e m e n t u m placidos concinuisse modos, 2

Dr. W a l t o n B . M c D a n i e l suggests this emendation for

[ 288 ]

nobilitate.

APPENDICES

among her chief pleasures; and not content with listening to the serious works of others, she herself both plays and sings uncommonly well. Other nations, even as they have always loved music, have dared to ennoble it by their compositions—illustrious souls, because what they sang with skill they gladly gave to the world to sing. In former days our England admired the splendid works of these men but always allowed her own to lie in obscurity; but now that she has happily found leaders in Tallis and Byrd, to whom she gave birth, she allows her children to enjoy the light, and, such is the favor they have won in battle, to be carried through foreign lands for appraisement by masters of the art. So much does she attribute to those whom she selects as her leaders that, if there is any honor in the judgment of their native land, each of them merits an honored name wherever music, making its way, has a great name. Trusting in the judgment of these two men Music openly spreads herself, nurtured in the rich palace of Oceanus. 3 RICHARD

Ferdinando

Richardson

MULCASTER.

s Poem

FOR T H E SAME MUSIC OF T H O M A S T A L L I S WILLIAM

AND

BYRD.

W h e n fostering Music perceived that her heralds had been born in foreign lands, and that she, now famous, was reaching the topmost pinnacles of glory by the assent of the multitude through the labor of these m e n — Orlando, 4 singing with his heavenly voice and composing his works for the ages, Gombert 5 pouring out his dulcet measures, Clemens" harmonizing his gentle strains, Alfonso," the Phoenix of our time, creating songs 8 that Apollo 3

T h e court of

England,

certainly, a l t h o u g h

Britannia did

not " r u l e

the w a v e s "

se-

c u r e l y until she d e f e a t e d the A r m a d a , f o u r t e e n y e a r s later. 4

O r l a n d o di L a s s o , b. at M o n s , 1 5 3 0 or

1 5 3 2 , d . at M u n i c h , 1 5 9 4 . H e w a s

interna-

t i o n a l l y f a m o u s as a c h o i r b o y because of his b e a u t i f u l voice, a n d later b e c a m e one of the g r e a t e s t c o m p o s e r s of the g r e a t sixteenth c e n t u r y . 5

N i c h o l a s G o m b e r t , b. at B r u g e s , fl. a b o u t 1 5 3 7 , D e s P r c s ' best p u p i l .

6

C l e m e n s non P a p a , b. in F l a n d e r s , d . b e f o r e

7

A l f o n s o F e r r a b o s c o the E l d e r , I t a l i a n , w h o l i v e d c h i e f l y in E n g l a n d

1 5 7 8 a n d d i e d in T u r i n , 8

1558. from

1562

to

1588.

S o m e of the L a t i n musical terms used in E l i z a b e t h a n t i m e s w e r e e x c e e d i n g l y

e.g., Humeri, moduiamina, modi, carmina, cantus, and the verb cano. [289]

vague,

ELIZABETHAN M U S I C T e m p o r i s A l p h o n s u m nostri Phacnica creare C a r m i n a , quae Phoebus vendicet esse s u a : D e n i q u e n o m i n i b u s plena o m n i a talibus, A n g l u m In nullo i m p r e s s u m n o m e n habere l i b r o . [ , ] Pene subirasci coepit, n o s t r o [ s ] q u e Britannos I n d i g n o s donis insimulare suis. Q u o s certo scierat m u l t u m potuisse canendo, M i r a t u r nullos edere velie l i b [ r Jos, C u i u s c u m cuperent tristem finire q u e r e l a m , T a l l i s i u s m a g n o d i g n u s honore senex, E t B i r d u s t a n t u m natus decorare m a g i s t r u m , P r o m i t t u n t posthac non fore, ut ante fuit. C u d e n d o s q u e suos cantus, sua c a r m i n a curant, Ilia a l i o r u m oculis passus u t e r q u e legi. Quae q u o iudicio sint edita, iudicet ille, Q u i c u m iudicio, quae legit, ilia legit. Certe ego, si pueris r u d i b u s censura darctur, D i v i n o a u d e r e m dicere nata stylo, D i g n a q u e q u a e toto circumferrentur in orbe, A n g l i a q u o cives iactitet esse s u o s [ . ] H a e c h a b u i , venerande senex, mihi m a g n e m a g i s t e r , D a n d a tibi mentis conscia s i g n a m e a e . H a e c habui, iuvenis nostrae spes altera gentis, Q u a e f u n d o in l a u d e m c a r m i n a nata t u a m . C o m m u n e m q u e mihi tecum sic orno m a g i s t r u m C a r m i n e , ut H a r m o n i c i tu potes arte m o d i . Q u o d si q u a n d o mihi dederit divina voluntas M u s i c a c u m Unguis iungere ut a r m a q u e a m , N u l l a voluntatis deerit pars debita nostrae, Q u i n debere mihi se q u o q u e M u s a putet. Interea, mihi d u m succrescit longior aetas, H a e c vobis a n i m i sint bona s i g n a boni. FERDINANDUS

[290]

RICHARDSONUS.

APPENDICES might well claim as his own—in short, an overwhelming number of names, 9 with not a single printed book containing an English one 1 0 —she began to be almost angry, and to accuse our British composers as unworthy of her gifts. She is surprised that those composers whom she k n e w for certain to have great ability do not wish to publish their works. Because Tallis, an aged man worthy of great honor, and Byrd, who was born to adorn so great a teacher, wish to silence her gloomy complaints, they promise that the previous state of affairs shall not continue. They are carefully preparing their vocal compositions for the press, each having them read by others. T h e judgment shown in their publication may be judged by him w h o reads what he reads with judgment. I surely may presume to say, if inexperienced youths 1 1 were allowed to give their opinions, that they are written in a divine style and are worthy to be circulated the whole world over, so that E n g l a n d may say proudly they are her citizens. I have composed these verses to be given to you, my revered senior and great teacher, as conscious tokens of my thoughts toward you. I have composed them expressly in praise of you also, the other and youthful hope of our race. Consequently, Byrd, I honor our common master with a since your great powers lie in the field of

poem,

music. But if ever the Divine Will

shall give me the power to compose for voices accompanied by instruments, I shall dutifully strain every nerve, so that the Muse may recognize that she is indebted to me also. Meantime, as my years increase, may this be a pleasant token of my warm feelings toward you. FERDINANDO 9

P a l e s t r i n a , the g r e a t e s t c o m p o s e r of the time., is not m e n t i o n e d

RICHARDSON.

by R i c h a r d s o n ,

and

s e e m s to h a v e been little k n o w n in E n g l a n d . 10

T h i s is not strictly t r u e . S e v e r a l m u s i c a l w o r k s w e r e p r i n t e d in E n g l a n d b e f o r e the

Cantior.es Actes

of

thorne's

Sacrae, the

including

Apostles

madrigals

missals, W y n k y n

de W o r d c ' s

songs

( 1 5 5 3 ) , several a n t h e m s by T a l l i s h i m s e l f (1571)-

Possibly

Richardson

had

seen n o n e

(1530),

psalters,

(1560-65), of

Tye's

and

Why-

these, e x c e p t

surely

the psalters. I I

R i c h a r d s o n w a s m e r e l y a p e n n a m e used b y S i r F e r d i n a n d o H e y b o u r n e (see p .

H e was only about seventeen w h e n

he w r o t e this; Grove's

about 1 558.

[291]

Dictionary

says he w a s

113). born

cAppendix C THE

PRAISE

OF

MUSICKE,1

Preface to the Reader.

B Y J O H N C A S E , 1586:

EXCERPTS

T h e author quotes various stories from antiquity to

prove that music, although sometimes practised by unworthy men, is intrinsically noble: If there bee any such foolish musicians as Arcabius was, having that fault whereof Horace speaketh, Ut nunquam inducant animum cantare rogati, Injussi nunquam desistant: 2 That being praid to sing and shew their skil, Cannot induced be, say what thou list: But unrequested keepe a chaunting stil, And from their folly never will desist. Straightway musickc is wayward and troublesome, cunning men are either dangerous or phantasticall, as if to be skilful 1, were a fault, or to be cunning, worthy reprehension. Great occasion & advantage of inveighing against this art, is taken of that saying which King Philip of Macedon used to his sonne Alexander when he rebuked him, for that he could sing so well and cunningly; as if we did allow the importunitie 8 of Nero, which is said, all a long sommers day, to have sittcn in the Theatre, playing on his Harp. Musickc is so to be used o f 4 Noble & Gentle men, as Achilles did in Homer: who after that bitter contention between him and Agamemnon, taking to him his harp, (whereon he had learned to play of Chiron the Ccntaure, who also taught him feates of armes, with Phisicke and surgerie) and playing thereon, sang the martial acts of the Princes of Grece, as Hercules, Perseus, Peritheus, Theseus, & his cosen Jason, & was therewith asswaged of his fury and reduced into his first estate of reason. And this in him was so commendable, that Alexander himselfe, after he had vanquished Ilion, being demanded of one, if he would see the harp of Paris, who ravished Helena: thereat gently smiling answerd, it was not the thing he much desired, but had rather see the harp of Achilles, wherewith he sang not the illccebrous delectations of Venus, but the valiant acts & noble affaires of excellent princes. Some, I doubt not, will exult to drawe a reproach of this art from the ancient Greekes, with whom it was at first in greatest estimation. But I would not have any man suppose that my purpose is in this treatise, otherwise to speake of that science, than so, as it may seem both worthy private delectation, for a mans proper 1 8

2

For a summary, see p. 29, footnote. Approve the inopportune action.

Horace: Satires, Book I , No. 3. * Of: by.

[292]

APPENDICES solace, and also publickly commodious in matters both civil 1 & ecclesiastical! as in the processe shalbe declared. And therefore I refer the reader, for the decent use hereof to the 8. booke of Aristotles Politiques, his Covernour.

& the 7. chaptcr of Sir Thomas Eliot's 1st Book of

If thou be unskilful and ignorant, think that I will not so mildely answer thee as Stratonicus answered King Ptolemy, A scepter o King is one thing and an instrument another. 6

Chapter

1. The Antiquitie

more particulate

and Original

of Musicke:

first

generally,

then

This tells of music in the days of the gods and

set down.

the Greek heroes. Music's parentage, he says, is uncertain. T h e Muses claim her, "as may appear by christening her Musicke after their owne name." But some say the gods invented music. " F o r proofe hereof may serve the image of Apollo which stoode at Delos, bearing in the one hand his bowe and arrowes as being God of the archers, in the other the three graces with severall instruments as having soveraintie over the Musitians." Singing is ascribed to Jupiter, and the invention of the lyre to Mercury. T h e origin of the reed instrument called the Pshalme 6 is not so certain. Possibly the Muse Euterpe, or Ardalus the son of Vulcan first made it, but according to most, Minerva the daughter of Jupiter. And because everie artificer loveth his owne worke, Minerva was delighted with her pipe, and used even in the assemblie of the gods to windc it: till such time till both they drave her both from her Musicke and their presence by laughing at her blowen cheekes. Shce to make triall of the matter went down to a river side, and beholding her swelling face in Neptunes glas bid her pipe farewell in a great choler, loathing St disgracing the same as much as it disfigured her.

Chapter

2. The Dignitie

of Musicke

practise of many and most excellent

proved

both by the rewardes

and

men. Among its friends—all of them of

course from ancient Greece and Rome!—are mentioned Themistocles, Mark Antony, Julius Caesar, Nero, Galba, Vespasian, Diodorus, and Alexander the Great. T h e musician Terpander was called upon to quell a tumult of the Lacedemonians, and Greece ordained that the same men should be their sages, prophets, and musicians. Cimon of Athens and Epaminondas of 5

EXEQOV £ C J [ T ] I TO OXFIJRTQOV x a l TO JIXFJXTPOV, U> P A A I X E U .

6

Or shalmcy.

Cf. the chalumcau

register of the clarinet.

[ 293 ]

ELIZABETHAN MUSIC Thebes were capable musicians, and Nero won a garland for his victory over the harpers. Socrates when "faire stricken in yeares, and having in a manner one foote in the grave, yet of an old master became a young scholer unto Conus for the attaining of this science." Nevertheless, some musicians have brought their profession into ill repute, S o that I m a r v e l the iesse if D i o g e n e s the cynick Philosopher, a m o n g e s t other his d o g trickcs put u p a f o r m a l bil of inditement against the musicians in o p e n a n d

ordinarie

court, f o r s h e w i n g greater skill in concordes and unisons of their notes, than unitie a n d consent of m a n n e r s .

Antisthenes said of someone, " H e is a naughty man: if he were honest he would never be a musician"; Case retorted that Antisthenes was a " T o m Fool." Chapter

The Suavitie of Musiere.

" I shall first therefore speak of the

swetenes and delectation of Musicke: and afterwards of the use and necessity thereof." So by numerous anecdotes and examples he tells how by the nature of things music soothes and refreshes mankind, and, as he goes on to say, animals: N e i t h e r d o I here so attribute this delectation unto m a n , as d e n y i n g it to other creatures, f o r I a m verily persuaded, that the p l o w m a n & cartcr of w h o m I spake b e f o r e 7 do not so m u c h please themselves with their w h i s t l i n g , as they are d e l i g h t s o m to their oxen 8c horses. A g a i n the w a r h o r s e is so i n f l a m e d with the sound of the t r u m p e t , that he cannot keepe his standing, but m a k c t h an open w a y to his rider, t h r o u g h the midst of his thickest enemies. A n d here m a y it please the reader for his recreation, to call to m i n d one speciall history of the Sibarits: w h o s e horses were not only d e l i g h t e d w i t h

Musick,

but also taught to dance to the instrument: insomuch that one of their musicions at a certain time, h a v i n g some discurtcsy fit injury o f f r e d him took occasion to f o r s a k e his country, & fled to the Crotoniats, w h i c h w e r e enimies to the Sibarits, f o r a s m u c h as not l o n g b e f o r e that time the Sibarits had g i v e n them the o v e r t h r o w in battle. T h i s tibicen, or plaier o n the s h a l m , c o m m i n g a m o n g the crotoniats, m a d e his speech unto them to this purpose & e f f e c t , that if they could a f f o r d h i m credit, he w o l d w o r k such a device, as they shold easily obtain the conquest of the Sibarits h o r s m e n . C r e d i t w a s g i v e n

unto

his tale, & he ordained captain of the w a r , instructed all the fluters a n d shalmers of the 7

C h a p t e r 3 , page 4 3 : " E v e n the p l o u g h m a n a n d carter, are by the instinct of their

harmonicall

soules compelled

to f r a m e their breath

into a w h i s t l e ,

thereby

pleasing themselves, but also d i m i n i s h i n g the tediousnes of their l a b o r s . "

[294]

not

only

APPENDICES Crotoniatcs, what note they shold play, and how they should addrcsse themselves against their enimies. N o w the Sibarites on the other side being insolent, fit having taken hart 6c grace & courage unto them by reason of their former victory, prepare themselves to meete their enimies in the field. Wherefor the Shalmers of whome I spake before having received a watchworde of the Captaine, on a suddaine sounded their Flutes and Shalmes. The horses of the Sibarites hearing their country Musicke, whereunto they had been« accustomed, reared themselves on their hinder feete, cast their riders, and as they were wont to daunce at home, so now they did it in the skirmish, and by this policy, the Crotoniats wan the victory of the Sibarits. Whereby may be gathered not onely how pernicious clandestine treason is to a commonwealth, but also what strange & incredible delight musick impresseth even in these dumbe and unreasonable creatures. So mules are wonderfully alured with the sound of bels: fie sheepe follow their shcepheards whistle. And it is recorded also, that the Hart and other wilde beastes are by sweete and pleasant notes drawen into the toiles and gins of the huntesman. ¿tlianus in his taria

historia

testifieth, that Pythocaris a musition playing upon his Cornet, mitigated the fierce and ravenous nature of wolves, and that the mares of Libia and Oliphantes of India woulde followc the sound of Organes and divers other instruments. Now as these terrestrial beasts have their peculiar and proper delightes, so aquaticall creatures also living in another clement, offer themselves voluntarily to the sound of Musicke: so, as Martianus recordeth, certaine fishes in the poole of Alexandria are with the noice of instruments inticed to the bankes side, offering themselves to mens hands, so long as the melody endureth. 8

Chapter The Effects and Operation of Musicke. In the previous chapter the author proved the sweet influence of music by considering the causes, particularly the agreement that music has with our natures. In this chapter he shows its effects, recounting the extraordinary powers that music has of either rousing a man to action, or of changing his purpose altogether. Case, like medieval writers, unhesitatingly copies from Macrobius the remarkable effects of music written in the various ancient scales: Modus Dorius is a giver of wisdom, and a causer of chastitie. Lydius sharpneth dull wits, and to men oppressed with earthly cares, it bringcth a desire of heavenly things. 8 Robert Burton in the Anatomy of Melancholy, Part 2, Sec. 2, Memb. 6, Subsec. 3, also testifies to the extraordinary effect of music on fishes, and quotes a traveler who "saith of whales, that they will come and show themselves dancing at the sound of a trumpet"; also a philosopher's statement that in a lake in Lydia "there be certain floating islands that after music will dance." Burton conscientiously tells us that he does not quite believe this.

[ 2 95 ]

E L I Z A B E T H A N MUSIC M o d u s P h r y g i u s p r o v o k e t h to fight, a n d m a k e t h c o u r a g e o u s . A e o l i u s quietcth the m i n d , & giveth sleepe to the Pacified senses.

Its medicinal effects were equally extraordinary: T h a l e s a musician of Creet, with the sweetnes of his h a r m o n i c , b a n i s h e d the p l a g u e f r o m his citie. I durst in no wise a f f i r m e the last effect U operation of this w o r t h i e arte, w e r e it not that Plato w i t h his credite a n d authoritie did e m b o l d e n m e : " T h e

chaunging

of Musicall notes, hath caused an alteration of the c o m m o n state." L i k e w i s e in w h e n a n i e m a n is bitten of the T a r r a n t u l a , w h i c h

is a certain k i n d of

flie

Apulia

[!],

verie

v e n i m o u s a n d f u l l of d a u n g e r , they finde out the nature a n d sympathie of the sicknesse or h u m o r , w i t h p l a y i n g on instrumentes, a n d with divcrsitie of M u s i c k e , neither doe they cease f r o m p l a y i n g , untill the often motion and agitation, have driven the disease a w a y .

Chapter 5. The Necessitie of

Musicke.

M u s i c k e , u n l i k e a laboring m a n s g a r m e n t , is not necessary to existence, but, like a gentlemans

apparel,

is profitablie necessary

Scholers, as T u l l i e recordeth were w o o n t

f o r the comlinesse of

. . .

life. Pythagoras

to w i t h d r a w their m i n d e s f r o m

his

inten-

tive a n d deepe cogitations with s i n g i n g a n d w i t h instruments. H o m e r in the same sense termeth m u s i c i a n s Sophronistas, that is to say, Moderators or teachers of and S t r a b o callcd them the masters a n d correctors of m a n c r s .

. .

Temperance,

. Aristotle considered

that m u s i c k e o u g h t to be accompted of and e m b r a c e d , f o r that it is liberal.

[Yet]

hee

counselleth noble m e n rather to use it f o r their private solace, than p u b l i c k e ostentation. Jupiter is never m a d e to sing, or to plaie upon any i n s t r u m e n t , a l t h o u g h they d e n y h i m not most exact k n o w l e d g e and j u d g e m e n t . . . .

In a w o r d , Aristotle's resolution touch-

i n g the civil necessity is, that m u s i c k e hath relation to these three things, to delectation, to discipline, and to an h a p p y life. T o delectation, because Musicke w i t h the sweetness thereof doth refresh the m i n d e a n d m a k e it better able to greater labours. T o

discipline,

because it is a cause of breeding in us chastitie, temperance, a n d other m o r a l l virtues. T o an h a p p y life, because that cannot consist w i t h o u t j u d g e m e n t and liberall

delectations.

Chapter 6, The Use of Music\ generaUie in the course of our life, disappoints us, for its illustrations are drawn from classical life rather than from sixteenth-century England. Chapter 7 concerns The Particuler use of Musicke in Civill matters, especially in sacrifices, feasts, manages and Burials; "for I dare not speake of dauncing or theatricall spectacles, lest I pull whole swarmes of enemies upon me." One gathers, however, that he approves of dancing and plays under proper conditions.

APPENDICES Chapter 8 deals with The Particular

Use of mustcke in war-like

matters,

again chiefly among the ancients. Chapter

9. The Lawful

practise of the church.

Use of Musicke

in the Church confirmed

by the

The Puritans were opposed to all music in church

except psalm-singing unaccompanied by instruments. A quotation from St. Jerome gives authority for this practice, but other passages from the Bible and early Fathers show that instruments, hymns, and antiphonal singing were used. T h e stricter Puritans objected to all three of these in church. T h e ancient church of the Jews sang unto the Lord.

When the A r k was brought to

the city of D a v i d , the four thousand Lcvitcs song and made melodie, but D a v i d himself also sang, rejoiced, and daunced before it. When the temple was builded by

Solomon,

the Levites sang unto the Lord, songs of praise and thanksgiving, lifting up their voices with trumpets and Cimbals, and with instruments of Musick; which service the L o r d did so g r a t e f u l l y accept, that hec vouchsaved his visible presence, and

filled

the temple

with his glory. St. Paul said, I will sing with the spirit, but will sing with understanding also. [St. Jerome urges a w o m a n to visit Jerusalem with the argument that she will

find

there] divers languages, but one religion, and so many quiers of singers as there is diversities of nations.

.

.

. A n d in the same epistle they ad, In christi

vtlltila.

Here in

christ his village is no pride but al plainnes, and besides the singing of Psalms, nothing but silence. T h e

husbandman

holding the plough

singcth

Alleluia, the harvest

man

sweating at his labour doth solace himselfe with Psalms, and hee which cutteth the vines singing some Psalmc

of D a v i d . These are our verses in this countrie, these are

our

amarous songs.

T h e Western Church at first provided no music for its worshippers. Milan was the first of its congregations to sing anthems and hymns. St. Ambrose, its bishop, introduced them there, and psalms also, "least the people being in continual watchings and labor should faint and pine away for sorow." T h e psalms had been sung antiphonally in the church at Antioch, and Isidorus says St. Augustine first introduced the singing of anthems into his church, as done by the Greeks, antiphonally, "like the 2. Seraphins or the 2. testaments answering one another." T h e singing of hymns is mentioned in quotations from Jerome, Eusebius, Basil, St. Augustine, Theodoret, Epiphanius, and Rabbi Samuel. Case does not always trouble to quote verbatim: For c o m m a n d c m e n t it is said, Praise him with Virginals & organs, praise him

[297 ]

with

E L I Z A B E T H A N MUSIC c i m b a l s , praise h i m w i t h high s o u n d i n g c i m b a l s , let everie t h i n g that h a t h breath praise the L o r d Jesus C h r i s t . P s a l m e

Chapter

150.®

10. The Lawful

Use of Church

Musicke

proved

by

authorities

T h e preceding chapter described the use of music in

out of the Doctours.

the early church; this sets forth the views of the church Fathers regarding the art. 5/. Augustine

is quoted: " H o w great abundance of teares did I shed

at the hearing of thy hymnes and Psalmes, and how inwardly was I moved with the voice of thy sweete singing congregation." And Tertullian:

"Let

Psalmes and hymnes be song even of two, and let them provoke one another, whether of them can sing better to his G o d . " Gregory

Nazianzen

commended his sister Gorgonia because "she was skilful in singing and used it very often." Athanasius

extols singing in church, "for the soule being

made mery with the pleasant sound is brought to a sense and feeling of Christ, and most excellent and heavenly cogitations." Emperors approved it. Constantme Theodostus

"first began the psalme, praied together with the people."

11 "went in the middest before them [the congregation] in the

habite of a private person while they song their hymnes. W h e n the emperor Valens entred into the church where Saint Basil preached hearing the sound of the psalms he was stricken as if it had been with thunder. W h e n so ever" Charles

the Great

"came to anie cittie hee went to the Psalmody and sang

him-selfe." Case admits that some of the later ecclesiastics " I confesse be earnest against pricksong and artificiall musicke in the church. . . . But I am so farre from allowing of the abuse, and of popish church Musicke, that I detest both the one and the other. Read the comments of Bullinger, Peter Martyr, Calvin, . . . and the Lutherans, and you shall find all the contention to be against the abuse: no one word against the right and lawfull use thereof." Chapter

u.

Sentences

of the Scripture,

for the use of Church

Musict(,

are

quoted. 9

In this learned chapter Case quotes, n a m i n g book and chapter, f r o m the Old a n d

N e w Testaments, Isidorus, Pliny

the Y o u n g e r , Eusebius, Z o z o m e n u s ,

Nicephorus,

Soc-

rates Scholasticus, A t h a n a s i u s , St. A u g u s t i n e , St. J e r o m e , H i l a r y , T h e o d o r e t , Basil, Dionysus A l e x a n d r i n u s , H y m n i A m b r o s i i , D a m a s u s , Platina, B i s h o p J e w e l ' s a n s w e r to Master H a r d i n g , G r e g o r y the G r e a t , E p i p h a n i u s and R a b b i S a m u e l , all.

[298]

fifty-eight

quotations in

APPENDICES Chapter

12. A refutation

in the Church.

of objections against the lawful

use of

Musicke

This chapter is illuminating, for it lists each of the Puritans'

objections to church music, with an Anglican refutation. Case divides the Puritans into two classes. Those holding moderate views dislike only singing by the minister, or by singing men deputed for the purpose, and though they cannot do away with exquisite and cunning music, nor instruments in the church, "thinke plainesong farre more meete for Gods congregation." They urge three objections to the use of ornate music in church, which are substantially as follows: First Puritan Answer.

Objection.

A w a y with complicated music; all men should sing together.

Some cannot sing at all; why cannot they derive good from hearing others

sing, as thev do from hearing others p r a y ; Second

Objection.

Exquisite music contains too much repetition, and is hard to under-

stand. Answer.

This objection contradicts itself: if the words are hard to understand, repeti-

tion will make them clear. Contrapuntal music generally uses words the people know well. The remedy is to train the choir to sing more distinctly. Third Answer.

Objection.

" C u n n i n g Musicke pleaseth more with the note than the matter."

T h e fault lies in the listener, not in the music. " W h e n Augustine said he did

sinne mortally when he was more moved with the melodv than with the ditty that was sung," he did not "condemne Musicke and the sweete sound thereof, but his owne fraile and weake nature, which took occasion of offense at that, which in it selfe was good."

T h e other class of Puritans are extreme and would banish all music from the church. These urge as their First Objection. Answer.

" G o d is a spirite and will be worshipped in spirite and trueth."

God made both our bodies and our souls; surely he would have us worship

him with both. When a singing man's manner of life contradicts his pious words, Gregory answers: " N o n vox sed votum, non cordula musica sed cor, Non clamans sed amans cantat in aure D e i . " — N o t your voice but your devotion, not your music but your heart, not your shouting but your love sings in the ear of God. Second Answer.

Objection.

"Pricksong is not verbally nor literally commanded in the Gospell."

" M a n y things have becnc very acceptable unto God, which had no expresse

commandement in the Scriptures: As the precious box of spiknard, wherewith Marie Magdalen anointed his blessed feete."

[299]

ELIZABETHAN

MUSIC

Case concludes with a quotation from St. Augustine: Austen Gods

s a i t h of

himselfe, That

t h e v o i c e s of

the

t r u t h d i d d i s t i l i n t o his h a r t , Sc t h a t t h e n c e

singers did was

inflamed

picrce in

g o d l i n e s s « w h i c h c a u s e d t e a r s to i s s u e f r o m h i m so t h a t h e f e l t h i m s e l f b l e s s e d a n d h a p p y s t a t e . FINIS.

[300]

into

him

an

his eares,

&

a f f e c t i o n of

to he in a

most

cAppendix D When You See Me You Know

Me, a Play by Samuel Rowley, 1605: a Quotation Men-

tioning Tye. Prince.

Doctor T y c ,

Our musick's lecturer? Pray draw near: indeed I Take much delight in ye. Tye. In musicke may your grace ever delight, Though not in me. Musicke is fit for kings, And not for those know not the chime of strings. Prince. Truely I love it, yet there are a sort Seeming more pure than wise, that will upbraid it, Calling it idle, vaine, and frivolous. Tye. Your grace hath said, indeed they do upbraid That tcarme it so, and those that doe are such As in themselves no happy concords hold, All musicke jarres with them, but sounds of good, But would your grace awhile be patient, In musicke's praise, thus will I better it: Musicke is heavenly, for in heaven is musicke, For there the scraphin do sing continually; And when the best was born that ever was man, A quire of angels sang for joy of it; What of celcstial was revealed to man Was much of musicke: 'tis said the beasts did worship And sang before the deitie supernall; The kingly prophet sang before the arkc. And with his musicke charm'd the heart of Saul: And if the poet fail us not, my lord, T h e dulcct tongue of musicke made the stones T o move, irrationall beasts and birds to dance. And last the trumpets' musicke shall awake the dead, A n d clothe their naked bones in coatcs of flesh, T'appeare in that high house of parliament, When those that gnash their teeth at musicke's sound, Shall make that place where musicke nerc was found.

[301]

ELIZABETHAN MUSIC Prince. Thou givest it perfect life, skilful doctor; I thanke thee for the honour'd praise thou givest it, I pray thee let's heare it too. Tye. 'Tis ready for your grace. Give breath to Your loud-tun'd instruments. (Loud musicke) Prince. 'Tis well: methinkes in this sound I prove A compleat age, As musicke, so is man govern'd by stops And by dividing notes, sometimes aloft, Sometimes below, and when he hath attaind His high and lofty pitch, breathed his sharpest and most Shrillest ayre; yet at length 'tis gone, And fals downe flat to his conclusion. (Soft musicke) Another sweetnesse and harmonious sound, A milder straine, another kind agreement; Yet 'mongst these many strings, be one untun'd, Or jarreth low or higher than his course, Nor keeping steddie meane amongst the rest, Corrupts them all, so doth bad man the best. Tye. Ynough, let voices now delight his princely eare. (A song) Prince. Doctor, I thank you, and commend your cunning, I oft have heard my father merrily spcake In your high praise; and this his highness saith, England one God, one truth, one doctor hath For musickes art, and that is Doctor Tye, Admired for skill in musicks harmony. Tye. Your grace doth honour me with kind acceptance, Yet one thing more I do beseech your excellence, T o daine to patronize this homely worke, Which I unto your grace have dedicate. Prince. What is the title? [302 ]

APPENDICES Tye. The Actes of the holy Apostles turn'd into verse, Which I have set in several parts to sing: Worthy acts and worthily in you rcmcmbred. Prince. I'll peruse them, and satisfy your paines, And have them sung within my father's chapel. (Later in the play Tye is present when Cranmer orders the Prince whipped by proxy, a boy named Browne suffering for the Prince's laziness in studies.)

[ 303 ]

c_Appendix E A B R I E F E DISCOURSE, BY R A V E N S C R O F T , 1614: P R E F A T O R Y POEMS 1 In Approbation

of this

Worke.

N former Age, among Musitians rare, Regard was had of Measures then in use And Characters; ordain'd by speciall care, Least after-Comers should the same abuse; But forasmuch as those Composers Sage Occasion had not to apply each thing Unto the divers Humours which this Age Hath studied out, and to the world doth bring: I well approve this Authors Diligence, Who by his Labour Characters hath found, To shew what heretofore by negligence Hath beene omitted, and for certaine ground To make that plaine, that wanting was before In Measures, Times, Prolations well observ'd. Wherein his Commendations is the more, His Songs, and Skill high Praise hath well deserv'd.

I

Bachelor of Musicke, Maister of the Children of His Maiesties Chappels, of Household, and Windsor.

NATHANIELL GYLES

1

1

h a v e omitted t w e n t y - e i g h t crabbed lines by

John D a v i e s of H e r e f o r d , a n d

two

complete poems, viz. the sixth, by W i l l i a m Austin, w h o tells us that R a v e n s c r o f t " f o r L o v e doth T h i s , a n d not f o r G a i n e " ; a n d the e i g h t h , w h i c h is a L a t i n p o e m of eight lines by " T . H . " entitled

In Laudem hums opusculi.

[3 0 4 ]

APPENDICES Of this Ensuing

Discourse.

Arkes that did limit Lands in former times None durst remove; somuch the common good Prevail'd with all men; 'twas the worst of crimes.

M

The lil^e in Musicke may he understood, For That the treasure of the Soule is, next To the rich Store-house of Divinity: Both comfort Soules that are with care

perplext,

And set the Spirit Both from passions free. The Markes that limit Musicke heere are taught, So fixt of ould, which none by right can change, Though Use much alteration hath wrought, To Musickes Fathers that would now seeme strange. The best embrace, which herein you may finde, And th' Author praise for his good Worke, and Minde. THO:

IOHN DOWLAND

Bachelor

Sacred Maiestie,

of Musicke,

CAMPION.

and Lutenist

to the

in commendation of this

Wor^e.

Igurate Musicke doth in each Degree Require it Notes, of severalI Quantity; By Perfect, or Imperfect Measure chang d: And that of More, or Lesse, whose Markes were By Number, Circle, and Poynt: but various use

Kings

F

Of unskjld Composers did induce Confusion, which made muddy and obscure, What first Invention fram'd most cleere, and pure. These, (worthy R A V E N S C R O F T ) are restrain'd by Thee To one fixt Forme: and that approv'd by Me.

[305 ]

rang'd

E L I Z A B E T H A N MUSIC In the Most just praise of Musicke,

this praiseworthy

Worke,

and my deare, vertuous, and right expert friend, the most judicious He By And all Spend

T

Author.

ten-fold Orbes of Heaven are said to move Musicke; for, they ma\e Harmonious din: the Powres subordinate above Time, nay, spend Eternity therein.

Thy Nature, Manners, and thy Notes doe ma\e A Three-f old-Cord, to drawe all hearts it gaines: Thy Musickes Cordes hold Eares and Eyes awake (Yet lullaby in pleasure) with their Straines. So, then this latter Musicke (though alone) 'Twixt Fame and Thee doth make an Unison, Through which consent, though Deaths clouds thee o'rerun Thy glory still shall shine, and cloud the Sun. Io: DAVIES, Heref:

IN APPROBATION OF THIS ENSUING Discourse;

a n d t h e Author

my deare friend, Maister THOMAS RAVENSCROFT. A Rts are much alt'red from their Pristine State, J. X. Humors and Fancies so Predominate. Ould Artists though they were Plaine, yet were Sure, Their Precepts and their Principles were Pure: But now a dayes We scarce retaine the Grounds, W a r e so Extravagant beyond our Bounds. Among the Rest, Musicke (that noble Art) In this sad Elegie must beare a Part; Whose Purity was such in times of yore, (When Theory the Practise went before) [306]

therof

APPENDICES That then She was had in as great Esteeme As now of H e r the V u l g a r basely Deeme. Errors in Figures, Characters, and Note Doe N o w cause many Teach, and Learne by rote. This my deare Friend doth seethe heere to Wherein

he travail'd

To right his Mother; he scenes to Her to her auntient To beate downe Among

amend;

farre, great paines did

spend

reduce

Grounds, and former

Use,

Common Practise, that doth

the Commons, and her Prarcepts

range

change.

Heere shall \ou finde of Measures divers

sorts,

For Church, for Madrigalls, for sundry

Sports;

Heere

shall you finde

true Judgement, store of

All for the Ould true Rules of Musicke Numbers of 3. among the Meane

respected

Are hence exil'd,

rejected,

and (worthily)

reading,

pleading.

As being crept in by Custome, and Use Among

the Vulgars, which

Much might

the Wise

refuse.

be said more of this Little

But let the Reader judge

Booke:

that on't shall

This of the Author onely I will

looke.

say,

That in One poynt to no man he gives

way;

Composing of a Song unto some Ditty He is so Judicious and so Witty, That waighing

first the Nature of each Word

He findes fit Notes, that thereunto Maying

accord,

both Sound and Sence well to agree;

Witnesse his sundry

Songs of Harmonie.

What shall I say more?

this W o r k e I

approove,

And for his Skill, and Paines the Author MARTIN

love.

PEERSON

Bachelor of

[ 307 ]

Musicke.

E L I Z A B E T H A N MUSIC T o m y deare F r i e n d M a i s t e r THOMAS RAVENSCROFT,

upon this Worf^e. Prophesie (deare Friend) that thou which giv'st The Dead deserved Bayes, shall while thou liv'st Never want Garlands of that Sacred Tree To Crowne thee in Aeternall memorie: Thou that hast made the dying Coales to Glowe Of ould E d : Piers his name; which now shall growe, ('Gainst all that envious or malicious bee) In high Opinion 'mongst Posteritie; Nor shall they touch Worth without Reverence, In whome once dwelt such perfect Excellence In Heavn'ly Musicke; / may call it so, If ould Pythagoras said truely, who Affirm'd that the Sphaeres Ccelestiall Are in their Motion truly Musicall: And Man, in whome is found a humane Minde, (Then Whome, (Angells except) who e're could finde A Nobler Creature) some affirme consisteth Onely of Harmony, wherein existeth The Soule of Musicke; and yet {but for Thee) This Man had dy'd to all mens memorie; Whose Name (now cleans'd from rust) this Worke of thine ( While there are Times or Men) / doe devine Shall \eepe Alive; nor shall thy owne Name die, But by this Worke live to Ai term tie: And from it men hereafter shall pull out Scourges, to lash the base Mechanicke Rout Of Mercenary Minstrels, who have made (To their owne scorne) this Noble Art, a Trade.

I

THO:

[308]

PIERS

APPENDICES De ingenuo luvene T . R . (annos 22. nato) Studiosissimo, huius IJbelluli

Musiae

Authore.

R

Ara avis Arte Senex Iuvenis; Sed rarior est, si - Aetate est juvenis, Moribus ille Senex. Rara avis est Author; (poené est pars ( 1 ) Nominis

una)

Namque annis juvenis, Moribus, Arte Senex. ( 2 ) Non vidit tria Lustra Puer, quin Arte probatus, Vitâ laudatus, Sumpsit in Arte Gradum. Quale fuit studium, Liber hic testabitur; in quo Vim, Vitam Numéris reddidit ille Novam. Quâm bené castigat, malé quos induxerat Usus Errores, Priscas hîc renovando Notas? Arte Senex, Virtute Senex, œtate Adolescens I bone, Rara avis es; Scribe bonis avibus.

R. LL.

Theo-muso-philus.

FINIS.

[ 309 ]

(1) Ravenscroft. (2) Ad annos 14. Creatus est Baccaiaureus facultatif Musica in Acadcm Can ta brig.

cAppendix F BALDWIN'S POEM A N D DOW'S C O M M E N T S ON COMPOSERS John Baldwin was a tenor in St. George's Chapel, Windsor, from 1598 until his death in 1615. He wrote out ( 1 ) My Ladye Nevells Booke, consisting of virginal compositions by Byrd; (2) a MS book now in the British Museum (Royal Music Library, 24. D. 2.) containing motets and miscellaneous pieces and ending with the poem given below dated 1 5 9 1 ; ( 3 ) Christ Church MSS 979-983 (part books); and (4) part books, not all in his handwriting, in the Bodleian (Music School MSS e. 3 7 6 - 3 8 1 ) . 1. Baldwin's Poem Reede here, behold and see all that musicions bee; What is inclosde herein, declare I will begine. A storehousse of treasure this booke may be saiede Of songes most excelente and the beste that is made, Collected and chosen out of the best autours Both strainger and English borne, which bee the best makers And skilfulst in musicke, the scyence to sett forthe As herein you shall finde if you will speake the truthe. There is here no badd songe, but the best cann be hadd, The chiefest from all men; yea there is not one badd, And such sweet musicke as dothe much delite yeilde Both unto men at home and birds abroade in fielde. The autours for to name I maye not here forgett, But will them now downe put and all in order sett. I will begine with W H I T E , S H E P P E R , T Y E , and T A L L I S , P A R S O N S , G Y L E S , M U N D I E th'oulde one of the queenes pallis, M U N D I E yonge, th'oulde mans sonne and like wyse others moe; There names would be to longe, therefore I let them goe; Yet must I speak of moe even of straingers also; And first I must bringe in Alfonso F E R A B O S C O , [3io]

APPENDICES A strainger borne he w a s ain Italie as I here; Italians saie of h i m in skill he had no peere. L u c a M E R E N S I O w i t h others m a n i e moe, As P h i l i p p D E M O N T E the Emperours m a n also; A n d O R L A N D O 1 by n a m e and eeke C R E Q U I L L I O N , C i p r i a n o R O R E : and also A N D R E O N . All f a m o u s in there arte, there is of that no doute; T h e r e w o r k e s no lesse declare in everies place aboute, Yet let not straingers bragg, nor they these soe commende, For they m a y now geve place and sett themselves behynde, A n E n g l i s h m a n , by n a m e , W i l l i a m B I R D E for his skill. W h i c h I shoulde heve sett first, for soe it w a s m y w i l l , W h o s e greater skill and k n o w l e d g e dothe excelle all at this t y m e A n d f a r to s t r a n g e countries abroade his skill dothe shyne; F a m o u s men be abroad, and skilful in the arte I do confesse the f a m e and not from it starte; But in E w r o p p e is none like to our Englishe m a n , W h i c h dothe so f a r r e exceede, as trulie I it scan A s ye cannot finde out his equale in all thinges T h r o w g h e out the worlde so wide, and so his f a m e now ringes. W i t h f i n g e r s a n d w i t h penne he hathe not now his peere; For in this w o r l d e so w i d e is none can h i m come neere, T h e rarest m a n he is in musicks worthy arte T h a t n o w o n c a r t h c d o t h l i v e : I s p c a k c it f r o m m y

hartc

Or heere to fore hath been or after him shall come N o n e such I feare shall rise that m a y be calde his sonne. O f a m o u s m a n ! of skill and j u d g e m e n t e great profounde Lett heaven a n d earth ringe out they worthye praise to sounde; N e y lett they skill itselfe they worthie f a m e recorde T o all posteritie they d u e desert afforde; A n d lett t h e m all w h i c h heere of they greate skill then saie F a r e well, fare well thou prince of musicke now and a y e ; 1 I.e., Orlando di Lasso. T o facilitate reference I use capitals for the proper names; Baldwin does not.

[3"]

ELIZABETHAN MUSIC Fare well I say fare well, fare well and here end Fare well melodious BIRDE, fare well sweet musickes frende All these thinges do I speake not for rewarde or bribe; Nor yet to flatter him or sett him upp in pride Nor for affection or ought might move there towe2 But even the truth reporte and that make known to yowe Lo! heere I end farewell committing all to God Who kepe us in his grace and shilde us from his rodd.' Finis Jo. BALDWINE. The above lines are poor poetry, but good criticism. 2. Robert Dow's Comments on Composers, in the Library of Christ Church, Oxford, MSS 984, 985, 986, 987, 988. These five part books (Soprano, Alto, Contratenor, Tenor, and Bass) contain 133 sacred choral compositions and secular madrigals. Fifty-eight of the numbers are by his favorite composer " W m . Birde," 18 by Robert White, 8 by R. Parsons, 6 by D [ r ] . Tie, 5 each by Strogers and Tallis, three by Orlando di Lassus, two each by Farrant, Alfonso [Ferrabosco the Elder], and Woodcock, one each by Bruster, John Bull, N. Giles, "Johnson," Mallorie, W . Mundaie, Francesco Mocheni, Phillips, Shepard, Tailer, and Taverner, and 17 are anonymous. On the first written page there is the following poem by Walter Haddon. All the words in the last four lines begin with m. CH. C H . 984. SOPRANO BOOK.

Gualterus Haddonus Musicen prtmum docuit voluntas; Musices auxit studium voluntas; Musices usum retinet voluptas, Gaudia fundens. Musicen lusit placidus Cupido; Musicen lusit Cytherea mollis; Musicen lusit cythara suavi Clarus Apollo. 2

Thereto. [312]

APPENDICES Musici mentes tenuit virorum; Musice sensus tenuit ferarum; Musice montes et aquas et ornos Sede removit. Musice summis Nominator astris; Musice terrae dominatur imae; Musice ponto domtnatur alto, Cuncta pererrans. Musica mentis medicina m[a]estae; Musica multum minuit malorum; Musice magnis, medtis, minutis Maxima mittit. 1581

Quisquis es hunc nostrum tacturus forte libellum Seu quid voce vales seu cecinisse nequis: Pupillam domini te contrectare putato; Pars ea vult nitidas sic liber iste manus: ( W h o e v e r you are that are by chance about to touch this little book of ours, whether you sing well or cannot sing at all, remember that you are handling the master's treasure; this Part wishes for clean hands, just as that book of yours does.)

Sum Roberti Dowi Vinum et Musica IMetificant

Cordas

( I belong to Robert D o w . W i n e and music make the strings of the instruments rejoice.)

Ubi est concentus, ne effundas eloquium.

Ecclesiastici

32.

( W h e r e there is harmony, there is no need of eloquence.) A f t e r N o . 3, in all the parts:

Maxima musarum nostrarum gloria White Tu peris aeternùm sed tua musa manet ( T h o u diest, White, chief splendor of our art, but thy music abideth forever.)

[313 ]

E L I Z A B E T H A N MUSIC After 7, by White: Vinum et mitsica laetificant

cor.

Spiritus tristis exiccat ossa. (Wine and music gladden our heart. Doleful sighs dry out our bones.) After 10, by Byrde, and the Alto part of No. 48 by R. Parsons: Musica capitur omne quod vivit si naturam sequitur (Music charms every living thing if it follows its true nature.) After 25, by Strogers: Non est harmontce compositus qui Musica non delectatur. ( A man's nature is not harmonious if he takes no delight in music.) After 36, by Byrd, in the Soprano, Contratenor, and Bass books: Cantores inter, quod in aethere sol, bone Birde: Cur arctant laudes disticha nostra tuas. (Among singers, good Byrd, you are what the sun is in the sky; why should our distichs fetter your f a m e ? ) CH. CH. 985. ALTO BOOK. At the bottom of the first page: In Graecia Musici fioruerunt, discebantque id omnes; nec qui nesciebat, satis excultus doctrind putabatur. Tusculana Prima. Cicero. (In Greece musicians flourished, and all learned it; if anyone was ignorant of it his education was considered incomplete. Cicero: Tusculan Disputations, Book 1.) After 1, by White: Ateas Scytha maluit audire hinnitum equi, quam cantum praestantissimi musici Ismeniae; vox equi non hominibus. (Ateas the Scythian would rather hear the whinny of his horse than the song of the most distinguished singer in Thebes; men do not have horses' voices.) After 4 1 : Cicero ad Atticum lib. 4°. Britannici belli exitus expectatur; etiam iam cognitum est, neque argenti scrupulum esse ullum in ea insula, neque ullam spem praedae, nisi ex mancipiis, ex quibus nullos puto te Uteris aut musicis eruditos expectare.

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APPENDICES Unus Birdus

omnes Anglos

ab hoc convicio

prorsus

liberat.

( T h e end of the British w a r is expected; it is certainly clear by this time that there is not a trace of silver on the island, nor is any plunder expected, except slaves, and I do not think you will find a single person that knows anything about writing or music among them. One man alone—Byrd—is enough to free the English completely from this reproach.) C H . C H . 9 8 6 . CONTRATENOR BOOK

After 1, by White, in this and the Tenor books: Non ita moesta3 sonant plangentis quam sonat authoris

verba

musica maesta8

Prophetae mei.

( N o t even the words of the gloomy Jeremiah sound so sad as the sad music of my composer.) After 34, by Byrd: Birde

suos iactet si Musa Britanna

Signiferum

clientes;

turmis te creet ilia suis.

( B y r d , if the Britannic muse should parade her supporters, she would appoint you standard bearer for her regiments.) After 42, O sacrum convivium Tallisius

by Tallis:

magno dignus

honore

senex4

( T h e aged Tallis, deserving of great honor.) After 70, by Rirdc, in the second handwriting, and the Bass part of 25 by Strogers: Sicut in jabricatione Sicut numerus

auri signum

musicorum

est

in iucundo

smaragdi: & moderato

vino.

(Music with pleasant wine that is taken in moderation is like an emerald set in gold.) C H . C H . 9 8 7 . T E N O R BOOK. 3 It must have given D o w , as a true Elizabethan, great pleasure to find a Latin word that he could spell in two different ways on successive lines. F e w such Latin words exist.

• Q u o t e d f r o m Ferdinand Richardson's prefatory poem to Tallis and Byrd's Sacrae, 1 5 7 5 .

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Cantiones

E L I Z A B E T H A N MUSIC After 35, by Parsons. Usually these Latin sententiae have been used to fill in blank lines. There is no such space here, but the poet was evidently determined to honor Parsons rather than be neat: Qui tantus primo Parsone in flore fuisti Quantus in autumno ni morererei fores (Thou who wast so great in the springtime of life, Parsons, How great thou wouldst have been in the autumn, had not death come.) At the end of Swe vigilem, yj, by William Mundy, the composer's name is punningly written Dies Lunae (Monday), and the further pun: Ut lucem solis sequitur lux proximo lunae Sic tu post Birdum Munda secutus erat (As the light of the moon follows next after that of the sun, so thou, Mundy, hast followed Bird.) After 42, O sacrum convivium by Tallis. The second line also occurs after the Contratenor part of 42. Quatuor illustris vixit sub Regibus isle Tallisius magno digno honore senex. Sub quibus eximius si musicus esset habendus Tallisius semper gloria prima fuit (Renowned Tallis lived under four monarchs, an aged man deserving of much honor. If in their time a musician ought to have been held distinguished, Tallis was always their chief glory.) 51 is by Alfonso Ferrabosco "Italus" and 52 by "Gulielmus Birde Anglus." CH. CH. 988. BASS BOOK. After 7, by White: Agamemnon abiens ad bellum Troianum domi reliquit musicum, turn excellent! s artis, ut Mgislhus potiri Clytemnestra non potuerit nisi musico occiso. H[ieronymus] Cardan [1501-1576], de Sap. (When Agamemnon departed for the Trojan War he left at home a musician, of such unusual ability that Aegistheus could not win Clytemnestra until the musician was killed. Girolamo Cardan, de Sapientia.) 0 Morerere, from morior, is my emendation for morcle, and does not fit the scansion of the dactylic pentameter.

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which is not a word at all

APPENDICES A f t e r 20, by Tallis:

Talis es et tantus Tallisi musicus, ut si Fata senem aujerrent musica muta foret ( T h o u art so renowned and great a musician, Tallis, that if fate should carry thee away in thine old age, music would be mute.) A f t e r 27. an elaborate decoration and

Mr. Wm. Byrde. Musica mentis medicina maestae quoted from Haddon's poem. A f t e r 33 by Ryrd:

Qui decus es generi genti Philomelaque nostrae; Birde precor longum voce manuque canas/ ( H o w you grace our nation and race, O nightingale; I pray you, Byrd, may you long give us music with your voice and

fingers!)

A f t e r 34 by Byrd

Musica vel ipsas arbores et horridas movet feras (Music moves the very trees and savage beasts.) A f t e r 43, by:

Magister Thomas Tallis. Mortuus est 23° Novembris Supultus Grenovici in Choro Ecclesiae parochialis

1585

W e have here both the date of Tallis' death, and the place of his burial— Greenwich parish church. A f t e r 48 by Parsons:

Musica laetificat corda (Music makes glad our minds.)

[317]

c_Appendix G A N T H O N Y WOOD'S C O M M E N T S ON COMPOSERS, ANTHONY WOOD

1691-2

( 1 6 3 2 - 1 6 9 5 ) who was born, was educated, and died at Ox-

ford, sketched the careers of Oxford University men of prominence in his Athenae

Oxonienses.

T h e second half of each volume consists of Fasti

Oxo-

menses, listing under each year the prominent candidates and graduates of that year, with their degrees, often with comments. Below are given only the names of those whom he mentions as "celebrated in their time" or "eminent in their profession." B.

Mus.

1502

HENRY

B. M u s .

1509

JOHN

WENDON

PARKER

B.

CLAWSEY

Mus.

1509

JOHN

D. Mus.

1515

ROBERT PERROT, B.

B. Mus.

1521

JOHN

MUS.

SYLVESTER

D . Mus. 1 5 4 8 CHRISTOPHER T Y E , incorporated f. C a m b r i d g e " W a s much in renown f o r his admirable skill in the Theoretical and Practical part of Music. . . . We have also some of his Compositions a m o n g the ancient Books in the Public Music School, of Six parts, but long since, with others of that time, antiquated, and not at all v a l u e d . " B. Mus.

1550

JOHN M E R B I C K or M A R B E C K ;

supplicated;

whether

he w a s granted

the

degree "appears n o t . " B. M u s . 1 5 8 6 JOHN BULL. "]ohn years was then admitted

Bull

w h o had practised the Fac. of Music for

Batch, of M u s i c . — T h i s Person, w h o had a most

14

prodigious

H a n d on the O r g a n , and was f a m o u s throughout the Religious world for his Church music (the w o r d s of some of which are extant) had been trained up under an excellent Master named Blithman 1 5 9 1 . T h i s Blithman

Organist of Qu. Elizabeth'>

Chapel, w h o died m u c h lamented in

perceiving that he had a natural G e n y to the Faculty, spared neither

time nor labour to advance it to the utmost. So that in short time he being more than Master of it, w h i c h he showed by his most admirable compositions, played and sung in m a n y Churches beyond the Seas, as well as at home, he took occasion to go incognito into France

and Germany.

At length hearing of a f a m o u s Musician belonging to a cer-

tain Cathedral, (at St. Omers as I have heard) he applied himself as a Novice to him to learn something of his Faculty, and to see and admire his Works. T h i s Musician, after some discourse had passed between them, conducted Bull joyning to the Cathedral, and shew'd to him a Lesson

to a Vestry, or Music School

or Song

of forty

parts,

and then

made a vaunting C h a l l e n g e to any Person in the W o r l d to add one more part to them,

[318]

APPENDICES supposing it to be so complcat and f u l l , that it was impossible f o r any mortal M a n to correct, or acid to it. Bull

thereupon desiring the use of Ink a n d rul'd Paper, (such as

we call Musical P a p e r ) prayed the Musician to lock him up in the said School for 2 or 3 Hours; which being done, not without great disdain by the Musician, Bull or less, added forty

more

parts to the said Lesson

or Song.

in that time,

T h e Musician thereupon be-

ing called in, he viewed it. tried it, and retry'd it. At length he burst into a great ecstasy, and swore bv the great God that he that added or Dr.

Bull

&c. Whereupon Bull

those 40 parts,

must either

be the

m a k i n g himself k n o w n , the Musician fell d o w n

Devil and

ador'd him. A f t e r w a r d s continuing there and in those parts for a time, became so much a d m i r ' d , that he was courted to accept of any Place Preferment suitable to his Profession, either within the D o m i n i o n s of the Emperor, K i n g of France, of these Transactions coming to the English Court, Qu. Elizabeth

or Spain.

But the tidings

c o m m a n d e d him h o m e .

See more of him under the Year 1 5 9 2 . [ T h i s 1 5 8 6 entry and the next are quoted by me in f u l l . ] [1592]

]ohn

Bull

Doct. of Music of the said U n i v . of Cambridge

Gentlemen of her M a j . Chappel, was incorporated the same day

and one of

[that E d w .

the

Gibbons

Batch, of Music of C a m b r i d g e became B. Mus. O x o n . ] , July 7. T h i s was the same person w h o was admitted Batch, of Music of this University, A n . 1 5 8 6 , as I have told you under that Y e a r , and w o u l d have proceeded in the same place, had he not met with C l o w n s and rigid Puritans there that could not endure Church Music. H e was a f t e r w a r d s the first Music Lecturer of Gresham Orlando

Gibbons

Bird

and

being the other t w o ) that composed and published a Book entit.

Par-

thenia; or, The Maidenhead Printed at London contains 2 1

Coll. at London,

and one of three (Will.

of the first Music that ever was printed

for the

Virginals.

in f o l . but not said when, either in the Title, or at the end. T h e Book

lessons printed off f r o m Copper cuts, and was the p r i m e Book f o r m a n y

Years that was used bv Novices and others that exercised their hands on that Instrument. T h e r e is no doubt but that this Doctor Bull

hath published other things, besides

the m a k i n g of very m a n y Compositions to be sung and p l a y ' d ;

which being

thrown

aside upon the c o m i n g out and publication of others by other hands, have been since in a manner lost, such is the fate of Music, as well as of Poetry. A f t e r the death of Queen Elizab.,

he became chief organist to K . James I [ a n d ] was so much admired f o r his dex-

trous hand on the O r g a n , that many thought that there was more than Man in h i m . At length being possess'd with Crotchets, as many Musicians are, he w e n t beyond the Seas and died, as some say. at H a m b o r o u g h

[ H a m b u r g ? ] ; or rather, as others w h o r e m e m -

bred the Man have said, at L u b e c k . 1 H i s Picture hangs at this day, at the upper end of the public Music School in the University of O x o n . " 2 B. Mus. 1 5 8 8 THOMAS MORLEY. " T h i s Person, T h o ' he had not so excellent a hand on the Organ as B U L L had, yet his compositions were admirable in their time. [ F i v e are 1 2

He died at A n t w e r p . And still does in the twentieth century, only a f e w yards a w a y .

[319]

ELIZABETHAN MUSIC named, ending w i t h : ] Introduction t o ' M u s i c , Lond. 1 5 9 7 , Sec. in a thin fol. This last Book, which shews the Author to have been admirably well skill'd in the Theoretic part of Music, hath afforded some matter to Christoph. Simpson when he composed his pendium

Com-

of Music, but more to the Author of A n Introduction to Music, Lond. 1 6 5 5 , ' Sec.

oct[avo] published by John

Playjord."

B. Mus. 1 5 8 8 "JOHN DOWLAND one of the Gent, of Her Majesty's Royal Chappel, was then also with T h o . Morley adm. Batch, of Music.—He enjoyed the same place also when K i n g James I. came to the C r o w n , being then esteemed a most admirable Lutinist; about which time an Anagram was made on his name (Johannes Doulandus) running thus, annos Iudendo hausi. He was the rarest Musician that his A g e did behold, and therefore admired by Foreign Princes, among whom the K i n g of Denmark was one, w h o being infinitely taken with his playing, when he was in England Queen, An.

1606, took him with him at his return to Denmark^;

he died . . . "

to visit his sister the where, as 'tis suppos'd,

[Wood by oversight omits his name from the general index.]

B. Mus. 1 5 9 2 GILES FARNABIE " A n eminent Musician." [His Canzonets

of 1598 are

mentioned, nothing else, and without praise.] B. Mus. 1 5 9 2 GEORGE WATERHOUSE "Supplicated for the degree of Batchelor but was not, as I can find, admitted." [Strange in view of Morley's praise of his contrapuntal skill.] B. Mus. 1 5 9 2 "EDW. GIBBON'S Batch, of Music of Cambridge

was then Incorporated in

the same D e g r e e — H e was now, or about this time, the most admired Organist of the Cath. Ch. at Bristol, was Brother to the incomparable Orlando

Gibbons

whom I shall

mention elsewhere, and Brother also to Ellis Gibbons, w h o hath several compositions in The Triumphs of Oriana." D . M u s . 1 5 9 2 JOHN B U L L [ s e e f o l l o w i n g t h e 1 5 8 6

entry]

M. A. 1 5 9 2 " H E N . NOEL Esq . . . was one of the Gentlemen Pensioners to Qu.

Eliza-

beth, a Man of excellent parts, and well skill'd in Music." B. Mus. 1 5 9 3 "MATT. JEFFRYE vicar choral in the Church at Wells." He and "George JefTrye . . . were both eminent Musicians." B. Mus. 1 5 9 5 "FRANC. PILKINGTON who being a most excellent artist, his memory was celebrated by many persons, particularly by Sir Aston

Cockain

Baronet, who hath writ-

ten 4 his Funeral Elegy and his Epitaph." M. A . 1 5 9 5 "GEORGE FEREBE . . . well skill'd in Music, did instruct divers young Men of his Parish in that Faculty, 'till they could either play or sing their parts." Then dressed as a bard and shepherds, they serenaded Queen Anne ( w i f e of James I ) "on the Downes at Wensdyke . . .

to the great iiking and content of the Queen and her Com-

8 Introduction to the Skill of Musick., written by John Playford the Elder, 1654. 2d ed., enlarged, 1 6 5 5 . T h e second part consisted of Campion's rules for composing music in parts. 4 In his choice Poems oj several sorts, &c. London, 1 6 5 8 , p. 1 1 3 .

[320]

APPENDICES p a n y . " He later became "Chaplain to his Majesty, and was ever after much valued for his Ingenuity." B. Mus. 1600 Wood says eighty-nine were admitted this year as Bachelors of Music, but comments on none except Roger Matthew, who was also a poet. B. Mus. 1 6 0 2 "WILL. WEELKS. Quaere versity, hath not set down William,

whether the Scribe or Registrary of the Uni-

for Tho. Weclk.s."i

T w e l v e lines are here devoted to

Thomas Weelkes and his compositions, but without comment. B . M u s . 1 6 0 4 JOH. D A N I E L . N o c r i t i c i s m .

B. Mus. 1606 "THOM. TOMKINS of Magd. Coll. This eminent and learned Musician was Son of Thom. Tomkins

Chauntor of the Choir at Glocester,

descended from those of

his name of Listwithyel in Cornwal, Educated under the famous Musician Will.

Bird,

and afterwards for his merits was made Gentleman of His Majesty's Chappel Royal, and at length Organist, as also Organist of the Cath. Church at Worcester. follow.] He had a Son named Nath.

Tomkins

Batch, of Div. of Oxon.,

[Compositions who was Preb-

endary of Worcester from the Month of May 1 6 2 9 to the 2 1 . of Oct. (on which Day he died) An. 1 6 8 1 , as also several Brethren, among whom were ( 1 ) Giles T o m k i n s a most excellent Organist, and Organist of the Cath. Ch. at Salisbury, ¡oh. Tomkins

who died about 1 6 6 2 . ( 2 )

Batch, of Music, who was one of the Organists of St. Paul's

Cathedral, and

afterwards Gentleman of the Chappel Royal, being then in high esteem for his admirable knowledge in the theoretical and practical part of his Faculty. At length being translated to the Celestial choir of Angels on the 27. Sept. An. 1626, Aged 52, was buried in the said Cathedral. ( 3 ) Nich.

Tomkins

one of the Gentlemen of the Privy Chamber to

his Majesty K . Charles I. w h o was also well skill'd in the practical part of Music; and others, but their order according to seniority 1 cannot tell." 1607 ORLANDO GIBBONS was incorporated at Oxford as an M. A . of Cambridge. [But he never was M. A . Cantab, and Joseph Foster thinks it an error for B. Mus. Yet if so incorporated as B. Mus., why did he supplicate for the B. Mus. in 1 6 2 2 ? ] B . M u s . 1 6 0 8 W I L L STONARD. I n f o r m a t i o n , b u t n o c r i t i c i s m . B . MIL1;. 1 6 1 0

" R I C H A R D D F E R I N G " s u p p l i c a t e d f o r t h e d e g r e e a n d p r o b a b l y g o t it, b e -

cause soon afterwards he styled himself Bachelor of Music. " T h i s person . . . was bred up in Italy,

where he obtained the name of a most admirable Musician. After his Re-

turn he practised his Faculty for some time in England,

where his n a m e " was " h i g h l y

cried u p . " Wood then names later events: service as Catholic organist to the English nuns in Brussels, later to Queen Henrietta Maria, and exile during the Commonwealth. B. Mus. 1 6 1 3 "MARTIN PEARSON—He was afterwards Master of the Choristers of St. Pauls Cathedral, while Joh. Services

and

Anthems."

Tomkins

was Organist, and a composer of certain

mean condition, this died so rich, as to leave to the poor of Marsh in the Parish of nington

in the Isle of Ely,

Dun-

an hundred Pounds to be laid out for a Purchase for their

yearly use." 5

Church

Died 1650. "Whereas most Musicians die obscurely and in a

Wood's supposition is probably correct.

[3^]

ELIZABETHAN MUSIC B. Mus. 1 6 1 6 "JOHN VAUTER of Line. C o l l . " N'o comment at all. B. Mus. and D. Mus. May 1 7 , 1 6 2 2 . "Orlando Gibbons"

supplicated for both degrees,

but was refused T h e Baccalaureate and is not mentioned for the Doctorate.

[Gibbons

did, however, receive the degree of Doctor of Music on this occasion, at the request of his friend Heather. Wood also writes,] " T h i s Orlando, who was accounted one of the rarest Musicians and Organists of his time, hath extant a Set of Madrigals, a hand in Parthenia

.

. . services and Anthems

.

. . besides admirable Compositions that are

printed in several Books of Music." He died at Canterbury "of the Small-pox to the great reluctancy of the Court, on the Day of Pentecost, An. 1 6 2 5 . Afterwards was a Monument over his grave in the body of the Cathedral there . . . of Elizabeth his W i d o w

set up at the charge

. . . "

B. Mus. and D. Mus., May 1 7 , 1 6 2 2 . " W I L L . HEATHER or Heyther" was granted both these degrees, a composition by Gibbons being performed in place of the one that w o u l d normally have been required of Heather. [Heather founded the Heather Professorship of Music at Oxford in 1 6 2 6 / 2 7 , but was not a skilled composer. We should call his degree an honorary one.] D. Mus. July 5, [ 1 6 2 2 ] "NATHANIEL GILES Batch, of Music. . . .

In the Act this year,

wherein he proceeded, were certain questions appointed to be discussed between him and Dr. Heather

afore-mentioned, which being pro forma only, and not customarily to be

done, were omitted. T h e questions were ( 1 ) Whether sic0 Affirm. ( 2 ) Whether as the natural or the Theory?

any artificial

Instrument

Voice? Negat. ( 3 ) Whether Affirm. This Dr. Giles,

Discords

can so fully

the practise

may be allowed

in

and truly express

be the more useful part of

MuMusic Music

w h o was noted as well for his religious life and

Conversation (a rarity in Musicians) as for the excellency of his Faculty was . . . f a mous for his compositions of Divine

Hymns

and Anthems

. . . "

[His posts are men-

tioned. Wood's opinion of the private lives of musicians is evidently not high. What a pity we do not know Giles's opinions on discords!] 1 6 2 3 B. Mus. "HUGH DAVYS of N e w Coll. Organist of the Cathedral Church at Heref o r d . — H e was eminent for the various Compositions of Church Music that he had made, which is all I know of him, only that he died about 1 6 4 4 . " 1624 D. Mus. "JOHN MUNDY. Batch, of Music and Organist of his Majesty's Chapel within the Castle of Windsor." He was " i n high esteem for his great knowledge in the Theoretical and Practical Part of Music." His compositions are enumerated.

[322]

ST. PAUL'S C A T H E D R A L 1616

CHURCH

^Bibliographies P R I N T E D T U D O R A N D J A C O B E A N MUSIC MUSICAL

AND

TREATISES

The British Museum library contains copies of nearly all of these. But the Bodleian Library, the Library of Congress, the N e w York Public Library, the Folger Shakespeare Library and the libraries of Cambridge University, Christ Church (Oxford), the Royal College of Music, the Royal Academy of Music, and St. Michael's College at Tenbury all contain important works of this type. Dates given are those of first editions. Several manuscripts mentioning something of value also are included in the bibliography. T h e catalog of the British Museum should be consulted for titles of Elizabethan compositions printed separately by modern publishers, but three general collections are described below: ENGLISH

MADRIGAL

SCHOOL

SERIES

("E.M.S."),

36 vols., 1 9 1 3 - 2 4 . Edited

by Rev. Dr. Horace Fellowes. ENGLISH

SCHOOL

OF

TUDOR

CHURCH

S O N G W R I T E R S ( " E . S . L . S . " ) , 32 publica^ 2 : 1 - 1 7 . 1920-32. Edited by Rev. Dr. Horace

LUTENIST

tions, in two series: 1 : 1 - 1 5 Fellowes. MUSIC.

an