This dissertation has been microfilmed exactly as received 6 9 -4 8 4 2

BARSTOW, Robert Squire, 1936- THE THEATRE MUSIC OF DANIEL PURCELL. (VOLUMES I AND II).

The Ohio State University, Ph.D., 1968 Music

University Microfilms, Inc., Ann Arbor, Michigan

Copyright by

Robert Squire Barstow

1969 - THE THEATRE MUSIC OF DANIEL PURCELL

.DISSERTATION

Presented in Partial Fulfillment of the Requirements for_ the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By

Robert Squire Barstow, B.M., M.A.

******

The Ohio State University

1968

Approved by

Department of Music ACKNOWLEDGMENTS

To the Graduate School of the Ohio State University

and to the Center of Medieval and Renaissance Studies, whose generous grants made possible the procuring of materials necessary for this study, the author expresses his sincere thanks. Acknowledgment and thanks are also

given to Dr. Keith Mixter and to Dr. Mark Walker for their

timely criticisms in the final stages of this paper. It

is to my adviser Dr. Norman Phelps, however, that I am

most deeply indebted. I shall always be grateful for his

discerning guidance and for the countless hours he gave to

my problems. Words cannot adequately express the profound

gratitude I owe to Dr. C. Thomas Barr and to my wife.

Robert S. Barstow

July 1968

1 1 VITA

September 5, 1936 Born - Gt. Bend, Kansas

1958 ...... B.M. , ’Port Hays Kansas State College, Hays, Kansas

1958-1961 .... Instructor, Goodland Public Schools, Goodland, Kansas

1961-1964 .... National Defense Graduate Fellow, The Ohio State University, Columbus, Ohio

1963...... M.A., The Ohio State University, Columbus, Ohio __

1964-1966 .... Assistant Professor, Department of Music; North Carolina College, Durham, North Carolina

1966-1968 .... Assistant Professor, Department of Music, State University College, Oneonta, New York

FIELDS OF STUDY

Major Field; Musicology

Professors: Richard H. Hoppin and Keith Mixter

Minor Field: Music Theory

Professor: Norman Phelps

1 1 1 CONTENTS

Page

ACKNOWLEDGMENTS . . . . T * ...... ii VITA ...... iii

PREFACE vi

Chapter

I. BIOGRAPHY...... 1

"II. THE THEATRE...... 15

The P l a y s ...... 15 Management...... 26 Scenes and M a c h i n e s ...... 31 Theatre Design ...... 44

III. THE THEATRE MUSIC OF DANIEL PURCELL ...... 47

Instrumental Music ...... 47 Introduction ...... 47 Cynthia and Indimion; or. The Loves of the Deities...... 50 The Rival Queens ; or. The Death of Alexander the G r e a t ...... 52 Indian Queen ...... 54 The Relapse; or. Virtue in Danger . . . 54 The Inconstant; or. The Way To Win H i m ...... 60 The Unhappy Penitent ...... 64 The Judgment of P a r i s ...... 68 The Grove; or. Love's Paradice .... 76 C o n c l u s i o n ...... 80

IV Chapter Page

Vocal M u s i c ...... 86 Introduction ...... 86 Continuo A i r s ...... 90 Accompanied A i r s ...... 97 Trio A i r s ...... 100 Airs With C h o r u s ...... 104 Composite A i r s ...... 107 Dialogue Songs ...... 113 D u e t s ...... 114 T r i o ...... 116 Grand C h o r u s ...... 118 Summary: Vocal Music ...... 119

IV. CONCLUSION ...... 124

APPENDIXES A. CALENDAR OF P L A Y S ...... 131 B. PLATES OF THEATRE DESIGNS ...... 137 C. CATALOGUE OF THEATRE M U S I C ...... 143

BIBLIOGRAPHY ...... 216 PREFACE

The music of Daniel Purcell, younger brother of

Henry Purcell, has remained virtually unexplored. Like so many other English composers active in that period between Henry Purcell's death (1695) and the arrival of Handel

(1711), his contribution to the musical scene has been

glossed over with a few disparaging remarks.

This neglect has been especially pronounced in the

area of theatre music. Lacking either a dramatist or musi­

cian of eminence to provoke interest, researchers have not been attracted to the subject. Yet it was in the theatre

that many, if not most, of the musicians sought either to

sustain or supplement their livelihood. Daniel Purcell was no exception to this rule.

Immediately following the demise of his brother,

Daniel left an organist's post to assume a position as com­

poser for the Drury Lane theatre. He remained active in

this position for over a decade. During this time, a large

amount of vocal and instrumental music for the stage came

from his pen. It will be the purpose of this paper to pre­ sent a representative sample of this music, to discuss its

stylistic features, to explain its functions within the

VI dramatic presentation, and to set in some perspective the role of the music and its composer in the theatrical milieu of this period.

V l l CHAPTER I

BIOGRAPHY

Without becoming entangled in the argument regarding the genealogy of Daniel Purcell,^ it should- be noted that both of the persons proposed as the father of the Henry

Purcell (and thus also of Daniel), viz., Henry the Elder and his brother Thomas, were members of the Chapel Royal.

Henry the Elder is listed in the Lord Chamberlain's Records in 1660 as a "composer for the violins,"2 and in the Cheque

Book of the Chapel Royal, April 23, 1661, as one of the

"Gentlemen" who participated in the Coronation of King

Charles II.3 Thomas Purcell is also listed in the Lord

Chamberlain's Records in 1660. Thomas, however, was

^See Jack Westrup, "Purcell's Parentage," Music Review, XXV (1964), 100-103; Franklin Zimmerman, "Purcell's Family Circle Revisited and Revised," Journal of the Ameri­ can Musicoloqical Society, XVI (1963), 373-381; and Franklin Zimmerman, Henry-^urcell, 1659-1695, His Life and Times (New York: St. Martin's Press, 1967), 374-391.

^Henry Cart de Lafontaine, The King's Musick, A Transcript of Records Relating To Music and Musicians (1460-1700) (London: Novello & Co., n.d.), 124. 3joseph Lemuel Chester (ed.). The Marriage, Baptismal, and Burial Registers of the Collegiate Church or Abbey of St. Peter, Westminster, Vol. X: Harleian Society Publica­ tions (London: 1876), 161, footnote 1. 2 musician for "lutes and voyces."^ In 1662, he was appointed to the "private musick for lutes, voyall and voyces" and

"musician in ordinary," both in place of Henry Lawes, dece a s e d .5 Thomas was to assume what was apparently a much more favored position in his later years, for in 1674 he was appointed to distribute salaries "amongst 24 of the

Kings Musicians."6 Still- further evidence in this regard is provided by the fact that Thomas' salary was second only to

Nicholas Staggins, "Master of His Majesty's Music," and was more than double that of most of the other musicians.?

With both a father and an uncle as members or past members of the Chapel Royal, and with his older brother Henry having been a child of the Chapel and having been recently appointed to "composer in ordinary" for the violin in place of Matthew Lock e ,8 it is not surprising to find Daniel as one of eight "children of the chapel" in attendance "on his

Majesty at Windsor for 44 days, from .14 August to 26 Septem­ ber, 1678. . . ."8 Since the designation "child" was normally discontinued after a change of voice had occurred,

^Lafontaine, 122. <

Sibid.. 151.

^Great Britain, Public Record Office, Calendar of Treasury Books 1660-1718, IV (London: Mackie & Co., 1909), 621. ?Ibid., V, Part 1, 645.

8Lafontaine, 322.

Sibid., 339. 3 it may reasonably be assumed that Daniel was no older than fifteen or sixteen at the time, and was possibly somewhat younger. In regard to this, it may be instructive to note that two of the seven other "children" in "attendance," viz., Vaughan Richardson and Hugh Bradock, do not have voice changes recorded until 1688 and 1691 respectively.10 While such information tells us nothing specific about Daniel, it does suggest the possibility that he may easily have been as young as eight or nine at the time of this service. If this were true, a birth date of c . 1670 is not implausible.

This date, is obviously too late if Henry were the father, for he died August 11, 1664.H It is not too late for

Thomas, however, who lived until July 31, 1681.12

In view of the fact that no further mention of Daniel is made in the Lord Chamberlain's Records, and since no birth register listing his name is now known, the above dating must be regarded as speculation. So also must we speculate about Daniel's activities from the 1678 date to 1687, the time when he was appointed organist of Magdalen

College, Oxford, in place of Francis Pigott.l3 Accepting a birth date of 1670 makes this task easier, although not

lOlbid., 387, 406.

llchester, 161, footnote 1.

12Ibid., 205.

13c. R. L. Fletcher (ed.). Collectanea, Vol V: Oxford Historical Society Publications (Oxford: Clarendon Press, 1885), 304. 4 necessarily more accurate. Using this date, however, it is quite possible that Daniel remained a child of the Chapel until c. 1685, and then continued in the "custody and teaching" of Dr. John Blow, Master of the Children, or one of the other Chapel musicians until his appointment as organist. At this time he would have been seventeen,

certainly not an unreasonable age to assume such a post.

Precise details of Daniel's activities while holding

this post are lacking. From some publications of the period, however, it is certain that he did not sever all contacts with London, for his songs were included in the first four books of The Banquet of Music published between the years

1687-1689; in the second book of Comes Amoris, published.

1687 ; in the first two books of Vinculum Societatis, pub­

lished 1687-1688; and in the second book of Harmonia Sacra,

published in 1693. How many, if any, of his anthems date

from this period cannot be definitely stated, although the

first group of anthems in Bodleian Library MS Mus. d. 226 appear to be in a different hand^^ from those on succeeding

folios.

Daniel continued as organist at Magdalen until 1695,

when he resigned to return to London. Undoubtedly the

illness or death of Henry prompted this move, for Daniel

immediately set about composing the music to the Fifth Act

14gee prefatory and marginal notes in the manuscript. 5 of The Indian Queen, thereby completing a task denied Henry

by his death. Almost overnight Daniel assumed the duties

of "house composer" for Drury Lane (and also Dorset Gardens),

and remained active in this role for the next ten years.

During this period Daniel composed all or part of the

music for no fewer than fifty theatrical productions, eight

of which were operas (see Appendix A for a calendar of first

productions of these plays). A rather sharp drop in the

number of these new productions per year is observable

after 1701, and by 1707 the instances are few indeed. Much

of the reason for this decline can be directly attributed to

the increasing popularity of opera, especially Italian

opera. A series of comments in the Muses Mercury describes

this tendency during 1707:

The present Humour is so much for Opera's, that the Stage has been troubled with fewer new Plays this Winter, than we have seen in one Season, since the two Houses were divided. Whether the Town has got or lost by it, let others judge: But as indifferent as our new Plays us'd to be, they were so reasonable a Diversion, that they pleas'd longer than the -Opera's are likely to do. If Plays were bad, 'twas chiefly because there was but a bad Price paid for "them, and the Poets cou'd not be at the Expence of much Thought, at the Rate their Poems went off at. Half the Encouragement given to them, which has been given to such as are concern'd in the Performance of Opera's, wou'd have produc'd Plays that shou'd always have pleas'd.l5

The Season for renewing the Pleasures of the Town advancing, the Theatres are open'd, and Plays acted at both Houses; but such as have been so often play'd, that 'twill be no News to the Wbrld to hear of them;

l^The Muses Mercury; or. The Monthly Miscellany, I, 3 (March, 1707), 76. it may perhaps be some to know there are several Opera's doing from the Italian; but that which is in the greatest Forwardness, is la Didone Delirante of Sq^rlati, which has been finished these two Months, is now learning by the Performers, and will be ready to be practis'd within three Weeks. . . . 'Tis entirely Scarlati's, and there's no body, who knows anything of Musick, will desire any other recommenda­ tion of it. . . .16

Since we took any notice of the Theatres in our Mercuries; there has been a Revolution, with which all Lovers of Opera's are very well pleas'd. For the Masters and Performers imploy'd for the Stage, have at last prevail'd, that the House in the Hay- Market should be taken up wholly for Opera's, and that in Drury-Lane for Plays. At that in the Hay- Market, Opera's will be perform'd twice a Week for 9 Months in the Year, and Plays as usually at the Theater in Drury-Lane. . . . As for Opera's, the Expence of that Diversion is a little too great for such as declare for exact Oeconomy; and as the Great chiefly incourage them, they are now nearer than ever to their Protectors. . . . The Opera has been always crowded since it has been under the present Management, and is now in a fairer way to live than ever.17

While the view of opera presented here is generally alright one, the total picture shows that even at this early date financial considerations were no small matter:

The Theatre in Drury-Lane has not been much made use of this Season. There was a great Expectation of an Audience for the Opera of 'Camilla,' last Saturday, and they were all forc'd to return as they came; the Singers, the Women, and Foreigners especially, refusing to sing, without being secur'd such exorbi­ tant Rates ev'ry Night for the whole Season, that not scarce any one could think they deserv'd for once only.18

IGlbid., I, 9 (September, 1707), 218.

17ibid., I, 12 (December, 1707), 287-288.

18Ibid., I, 10 (October, 1707), 240. 7 Although no new productions utilizing Daniel's talents occur after 1707, a number of the old plays and i operas for which he composed the music continued to be included in the theatres' repertoires for several seasons.

Whether Daniel received any financial reward for these later performances is not known, but it seems likely that the remuneration, if any, would have been a small one.

If Daniel had other duties as part of his role as

"house composer," they are not recorded. Certainly someone had to be concert-master at the keyboard for the productions, and others had to play in the orchestra itself. Since the only musical talent Daniel is known to have exercised after being a child of the Chapel is that of organist, it seems more likely that he would have been found at the keyboard.

Another task of no mean nature was that of making "fair copies" of the music for each presentation. Accounts from a period c. 1710 record payments of from twelve to sixteen pounds for a score and parts.19 While a composer in a busy period would probably not have concerned himself with such matters, a composer in an idle period may well have taken

time to provide his own fair copy in order to supplement his income. With no direct evidence to support either of

these possibilities, the matter must remain open to

conjecture.

19British Museum, Egerton MS 2159, ff. 29-39. 8

In addition to his music for the theatre, Daniel also composed for various other occasions. For the Duke of

Gloucester's birthday and Installation as Knight of the

Garter, February 22, 1696, Daniel composed the ode Appear

Apollo's Darling Sons.20 For the birthday of "Her Royall

Highness the Princess Ann of Denmarke," February 6, 1698, his ode Welcome, Welcome Glorious D a y21 was presented.

According to the Post Boy,22 this ode was subsequently per­ formed in York Buildings May 25, 1698, as part of a

"benefit" concert for the c o m p o s e r . 23 Later in this same year, Daniel was chosen to compose the ode for the "Society of Gentlemen, Lovers of Musick's" annual observance of St.

Cecilia's D a y . 24 This ode as well figured in two later benefit performances, one for "Mr. Howel and Mr. Shore," the other for "Mr. Pate and Mr. Daniel P u r c e l l . "25 On.

January 4, 1704, Daniel's Ode Upon The Glorious Beginning

20Bodleian Library, Tenbury MS 1175, pp. 1-21.

21poyal College of Music MS 989.

22#476, May, 1698, pp. 21-24; The London Gazette, #3388, April 21-May 2, 1698, states that "The Song which was Sung before her Royall Highness on Her Birth Day last" was to be performed May 4 for the "Benefit" of Dr. Turner. Presumably this also was Daniel's composition.

23william Van Lennep (ed.), The London Stage 166Ô- 1800, Part i (Carbondaler Southern Illinois Press, 1965), 495. 24ibid.. 506.

25ibid., 507, 520. 9 Of Her Majesty* s Reign,26 and several compositions by Henry formed the program for a concert in Drury Lane.2? And, on

December 6, 1709, Daniel's anthem The Lord Gave The V f o r d 2 8 was presented before the Sons of the Clergy for their annual gathering.

It may be noticed, however, that once again the activity is confined primarily to the years prior to 1707, all of which would seem to indicate that his years from

1707 to 1713 may have been lean ones indeed from a financial standpoint. That he would not have been alone in this regard is evident in the following excerpts from the

Spectator;

We whose names are__subscribed, think you the properest person to signify what we have to offer the town in behalf of ourselves, and the art which we profess, music. . . . Music is to aggravate what is intended by poetry; it must always have some passion or sentiment to express, or else violins, voices, or any other organs of sound, afford an entertainment very little above the rattles of children. It was from this opin­ ion of this matter, that when Mr. Clayton had finished his studies in Italy, and brought over the opera of Arsinoe, that Mr. Haym ^nd Mr. Dieupart, who had the honour to be well known and received among the nobility and gentry, were zealously inclined to assist by their solicitations, in introducing so elegant an entertain­ ment as the Italian music grafted upon English poetry. For this end Mr. Dieupart and Mr. Haym, according to their several opportunities, promoted the introduction of Arsinoe, and did it to the best advantage so great a novelty would allow. It is not proper to trouble

26source not located.

^^Emmet L. Avery (ed.), The London Stage 1660-1800, Part 2, I (Carbondale; Southern Illinois Press, 1960), 52.

28gt. Michael's College, Tenbury MS 310, ff. 141r- 157r. 10

you with particulars of the just complaints we all of us have to make; but so it is, that without regard to our obliging pains, we are all equally set aside in the present opera. Our application therefore to you is only to insert this letter in your paper, that the town may know we have all three joined together to make entertainments of music for the future at Mr. Clayton's house in York-buildings. What we promise ourselves is, to make a subscription of two guineas, for eight times; and that the entertainment, with the names of the authors of the poetry, may be printed, to be sold in the house, with an account of the several authors of the vocal as well as the instru­ mental music for each night; the money to be paid at the receipt of the tickets, at Mr. Charles Lillie's. . . . We aim at establishing some settled notion of what is music, at recovering from neglect and want very many families who depend upon it, at making all foreigners who pretend to succeed in England to learn the language of it as we ourselves have done, and not to be so insolent as to expect a whole nation, a refined and learned nation, should submit to learn theirs. In a word, Mr. Spectator, with all deference and humility, we hope to behave ourselves in this undertaking in such a manner, that all English men who have any skill in music may be furthered in it for their profit or diver­ sion by what new things we shall produce; never pre­ tending to surpass others, or asserting that any thing which is a science, is not attainable by all men of all nations who have proper genius for it. . . .29

You will forgive us professors of music if we make a second application to you, in order to promote our design of exhibiting entertainments of music in York- buildings. It is industriously insinuated that our intention is to destroy operas in general, but we beg of you to insert this plain explanation of ourselves in your paper. Our purpose is only to improve our circumstances, by improving the art which we profess. We see it utterly destroyed at present, and as we were the persons who introduced operas, we think it a groundless imputation that we should set up against the opera itself. What we pretend to assert is, that the songs of different authors injudiciously put together, and a foreign tone and manner which are ex­ pected in every thing now performed amongst us, has

29Alexander Chalmers (ed.). The British Essayists, X (London: Printed for J. Scatcherd et al., 1802), 24-26. 11 put music itself to a stand; insomuch that the ears of the people cannot now be entertained with any thing but what has an impertinent gaiety, without any just spirit, or a languishment of notes, without any passion, or common sense. . . .30

We are, SIR, Your most humble servants

Thomas Clayton Nicolino Haym Charles Dieupart

Daniel is known to have organized at least one concert similar to those just described, the notice of it being carried in the London Gazette of March 31, 1712:

On Wednesday the third of April, at Stationers' Hall, Mr. Daniel Purcell, brother of the memorable Mr. Henry Purcell, will exhibit an entertainment of vocal and instrumental musick, entirely new, and all parts to be performed with the greatest excellence.31

It was probably for this occasion and others like it that

Daniel composed his sonatas and cantatas.32

Still, such incidental activity as this, incidental that is if surviving records are at all an accurate guage, would scarcely have demanded the full time of the composer.

The inscription on his anthem The Lord Gave The Word, viz., that it was performed before the "Sons of the Clergy,

30ibid., 116-117.

31Jeffrey Pulver, A Biographical Dictionary of Old English Music (London: Kegan Paul, Trench, Trubner & Co., 1927), 378.

32His cantata By Silver Thames Flow'ry Side was^ published in 1710 as part of the Monthly Mask" of Vocal Music, March, p. 34. - _ 12

6 Dec. 1709," is perhaps an item of information not to be lightly regarded in this matter. That Daniel would have been chosen to compose the music for this annual event when he apparently had been disassociated musically from the church for over a decade is not a little enigmatic. Still further, it is difficult to assign to mere coincidence the facts that Christopher Rich was dismissed from his position as manager of Drury Lane June 6, 1709, just six months prior to that date; that as a result Drury Lane was closed for the summer season; that when Drury Lane opened in the fall it was under new management; and that Daniel had composed no new music for the theatre since 1707. It may be that Daniel was dismissed from his position as "house composer" by the new manager, or that he had already left it on his own volition. It is also possible that he had returned to,33 or was vying for an organist's post at that time.

No record is known of Daniel's having accepted a church appointment during this time. Yet, his livelihood could scarcely have been sustained by the theatre unless he remained a member of the orchestra or received "royalties"

33a document in British Museum (reprinted in Zimmerman, Henry Purcell. . .; 303-304) snows that Daniel was organist at St. Dunstan's in the East as well as St. Andrew's, Holborn. He began his duties at St. Andrew's in "1713 (see below). That he may have been appointed to St. Dunstan's prior to this date is not inconceivable. If so, it would help explain the unusual circumstances surrounding his service at St. Andrew's (see also below). 13 from continuing performances of his earlier works. The evidence is, of course, inconclusive. We do know, however, that Daniel assumed the duties of organist at St. Andrew's,

Holborn in 1713, although under conditions that appear to be somewhat less than ideal. While precise details are lacking, a manuscript of c. 1727 relates that Daniel played the organ without having been elected or appointed, and without having a fixed salary.

That Dr. Henry Sacheverell, a former colleague of

Daniels' at St. Magdalen, had been appointed by the Queen to the "living" of St. Andrews on April 13 of this same year

(1713)35 may or may not have played a part in Daniels' taking the post under these conditions. Whatever the case may have been, Daniel remained in this post until his death in 1717.36 The only evidence of his death is in an advertisement in the Daily Courant, December 12, 1717, inserted by Edward

Purcell, "only son to the famous Mr. Henry Purcell," who was a candidate for the post of organist "in the room of his uncle, Mr. Daniel Purcell, deceaseds" To this period may

3^Great Britain, Historical Manuscripts Commission, The Royal Commission On Historical Manuscripts, Seventh Report, VI (Londorr: George Edward Eyre and William Spottis- woode, 1879), 689.

35Leslie Stephan and Sidney Lee (eds.). The Dictionary of National Biography, XVII (London: Oxford University Press, 1950), 571.

36lbid., XVI, 481-482. 14 reasonably be ascribed his Psalm tunes, published separately^? and as part of The Harpsichord Master

Improved,38 and many of his anthems.

Although Daniel no longer participated actively in the theatre during his later years, many of the operas and plays for which he had composed the music continued to be presented with each new season, and much of his music was published. After his death his theatre music soon fell into disuse and was replaced, or the plays themselves discon­ tinued. Publications containing his music continued to appear, however, gradually decreasing in quantity to the end of the century.

3?Daniel Purcell, The Psalms Set full. . . . (London; Printed for J. Walsh. . . , n.d.).

(London: Printed by & for Daniel Wright . . . & John Young . . . , Sold by B. Cooke . . . , n.d.). CHAPTER II

- THE THEATRE

32i£ eiays By the time Daniel returned to London in 1695, the gay, witty theatrical world of the libertine Charles II had undergone some sobering changes. The small coterie of sophisticated aristocrats that under and along with

Charles II had so generously supported the theatre, no . longer existed. James II, during his short reign (1685-

1688), had effectively disbanded and dispersed this group of Protestant courtiers by replacing them with ardent

Catholics. Poetic justice was served, perhaps, for James himself was later forced to flee the country when William

of Orange landed a powerful Dutch army in southern England

in November, 1688. William and his wife Mary (James's

daughter) were subsequently named as joint sovereigns by a

convention parliament. The presence of a Dutch-speaking

monarch more interested in war than in cultural pastimes,

one with at best an indifferent attitude toward the theatre,

had done little to encourage the re-establishment or forma­

tion of an aristocratic coterie. Thus, with support coming

only infrequently from the court, the theatre was forced to

15 16 rely almost entirely upon the favor of the general audience for economic sustenance.

Into this audience, and concomitantly into the place of influence left vacant by the court, had stepped "respect­ able" people, husbands and wives of the newly wealthy middle- class, bringing along with them their middle-class morality.

When combined with the usual assortment of fops, beaux, and bullies that continued to frequent the theatre, they formed a motley group that, for the most part, was both socially unsophisticated and intellectually decadent. The reaction against wit and eroticism brought about by this change in audience soon developed into a crusade climaxed by Jeremy

Collier's A Short View Of The Immorality And Profaneness On

The English Stage (1698).

To quell the fervor of this moral animosity, and to accommodate the tastes of their new clientele, the poets turned to sentimentalism, "... the emotion-supported belief that this is the best of all possible worlds, that there is good in everyone, and that a sinner can be reformed by appeals to his sensibility— often miscalled his reason."1

To be sure, the transition was a gradual one, but by the

1695-96 season the effects had begun to show. Chief among these was the elevation of womanhood, resulting in the increased importance of female roles. One can only imagine

^John Harold Wilson, A Preface To Restoration Drama (Boston: Houghton Mifflin Co., 1965), 191. 17 the amount of tears that flowed and the number of hearts

that swelled with joy when, on occasion, a hero was saved

or a rake reformed by the power of a good woman. To this

change in role may also be attributed the reversal of the

anti-marriage theme. One of the first plays to utilize

this novel turn, and to deliberately cater to the sentimen­

tal segment of the audience was the comedy Love's Last

Shift, or The Fool In Fashion (January?, 1696) by Colley

Cibber. The reform occurs and the heart strings are pulled

in Act V, p. 92 where Loveless, on bended knee, confesses to his wife Amanda:

Oh thou hast rouz'd me from my deep Lethargy of Vice! For hitherto my Soul has been enslav'd to loose Desires, to vain deluding Follies, and shadows of substantial bliss; but now I wake with joy to find my Rapture Real. Thus let me kneel and pay my thanks to her, whose con­ quering Virtue has at last subdu'd me. Here will I fix, thus prostrate sigh my shame, and wash my Crimes in never ceasing tears of Penitence.

AMANDA: O rise! this posture heaps new guilt on me! now you over-pay me.

LOVELESS: Have I not used thee like a Villain! For almost ten long years depriv'd thee of my Love, and ruin'd all thy Fortune! But I will labour, dig, beg or starve, to give new proofs of my unfeign’d Affection.

AMANDA: Forbear this tenderness, least I repent of having mov'd your Soul so far: you shall not need to beg. Heav'n has provided for us beyond its common care. 'Tis now near two years since my Uncle Sir William Wealthy sent you the news of ny pretended death, knowing the Extravagance of your Temper he thought it fit you shou'd believe no other of me; and about a month after he had sent you that advice, poor man, he dyed, and left me in the full possession of two thousand pounds a year, which I now cannot offer as a Gift, because my Duty, and your lawful1 Right, makes you the undisputed Master of it. 18

(Inheriting sufficient wealth to provide for the remaining years of bliss was the conventional reward bestowed upon the repentent prodigal and his beloved.) In the epilogue,

Cibber recounts how well he has treated the male consti­ tuents of this group:

Now Gallants, for the Author: first to you Kind Citty-Gentlemen, o'th' middle-Row: He hopes you nothing to his Charge can lay. There's not one Cuckold made in all his Play. Nay, you must own, if you'l believe your Eyes, He draws his Pen against your Enemies: For he declares to day, he merely strives To maul the Beaux— because they maul your Wives.

Lest he alienate himself from the rakehells, however, Cibber continues thusly:

Now, Sirs, to you, whose sole Religion's Drinking, Whoring, Roaring, without the Pain of Thinking; He fears h'as made a fault, you'll ne'er forgive, A Crime, beyond the hopes of a Reprieve; An Honest Rake forego the Joys of life I His Whores, and Winel t'Embrace a Dull Cast Wife; Such out of fashion stuff1 But then agenl He's Lewd for above four Acts, Gentlemen! For Faith he knew, when once he'd chang'd his Fortune, And reform'd his Vice, 'twas Time— to drop the Curtain. Four Acts for your Course Pallats was design'd But Then the Ladies Tast is more refin'd. They for Amanda's sake will sure be Kind. Pray let this Figure once your pitty move. Can you resist the Pleading God of Love! In vain my Pray'rs the other Sex pursue. Unless your Conquering smiles their stubborn hearts subdue.

Cibber's addressing the final six lines to the fairer sex should not be regarded as merely a mannerly gesture.

Rather this move is indicative of the growing impact of the female play-goer on box office receipts. Attesting to this fact are numerous prefaces, prologues, and epilogues of 19 ^ subsequent plays, stating in effect that if only the ladies

are or have been pleased, the efforts of the poet shall

not have been in vain. In the preface to Achilles? or,

Iphiqenia in Aulis (1699), the poet concludes with the following: — - "

. . . Yet notwithstanding all these Inconveniencies, my Iphiqenia has pleas'd the fairest Part of the Town, I mean the Ladies, and having gain’d this Point, I have my Wishes.

A more verbose example is the epilogue to The Triumphs of

Virtue (1697?):

If this Play hopes a Beam of Grace to meet, It must kneel only at the Ladies Feet: From those kind Stars it has some small pretence T'a smiling Aspect, for ’twas borrow’d thence. Triumphant Virtue, while that Name inspires. Our Muse from those fair Heavens stole her chast Fires. Then let this Play as your own Mirror pass. You bring the Beauties, and we hold the Glass. Pray let it live, and from that gracious Beam, Encourag'd Vertue shall be still our Theam: The Muses, with their whole Poetick Rage, Shall lash the Shame of a degenerate Age: You shall reform the World, and wee'll reform the Stage.

If I from those fair Eyes a Smile may find. If possible to deserve a Grace so kind; I'll pay this dutious Gratitude; I ’ll copy You. At your own Vertues Shrine my Vows I'll pay: Study to live the Character I play: So high I prize the Favour of the Fair, That all my whole Ambition's bounded there.

In the play, Bellamire, by her constancy, wins back and/or reforms her brother Antonio, the Duke Polycastro from his

sinful ways, and Perollo as her lover— after she chastises

him. About which Bellamire states: 20

. . . I have done no more • Then my whole -Sexes duty, bound by all The Sacred Laws of the fair Virgin Charter. (Ill, 1, 33)

While the female role was often the one of primary importance, it was not always the one to be admired. The central figure in villain tragedies— tragedies dealing with lust, ambition or revenge, and placing emphasis on a "Machiavell"— was often a villainess. In Mary Fix's Ibrahim

(1696), Sheker Para, the Sultan's chief mistress, plays such a role. Her lustful advances are denied by Amurat, who intends to remain faithful to Morena. Sheker vows revenge.

She has the Sultan Ibrahim ravish Morena (thus Morena, by convention, is doomed to an early death because she has lost her honor). Revenge on behalf of Morena is sought by a friend, Solyman. He first kills Achmet, Ibrahim's guard, and then goes for Ibrahim himself. They fight, and stab one another simultaneously. Upon learning that her plot has failed, Sheker Para stabs herself. Morena drinks poison and offers herself as an atonement for all the bloodshed.

Amurat, unable to live without his beloved Morena, also takes his own life.

A similar chain of development is followed in

Neglected Virtue (1696). The essential parts of the dia­ logue of Act V, pp. 44-48, are given in this instance to show the effect of sentimentality on the tragic play:

KING: O Heavens 1 what mean these Ghostly Fear[s] Why do I stiffen, as if my Destiny Was drawing onI 1 beg for ease, and yet Your loads oppress; nay, tho I strive to shake 21

You hence, your Darts still goad me; My pains increase; But where's the hidden Wound? Ohl that's within, a throbbing conscious Guilt That spight of all Resolves upbraids me, with A Life ill-spent, discovers to my veiw, [sic] The History of past, and present Crimes; Tells me of Death, of large Accounts to come. And Punishments unknown:

Thou dost not know, Thermusa, what a weight A tainted Conscience bears; thou'rt Innocent, Thy Hand unspotted; Nay, thy Heart is free, Mine both are deeply plunged in Murtherous Gore.

Oh Empire1 had I felt thy weight before. Ambition to my Arms the burthen bore; Not all thy glittering Robes, Scepter, or Fame, Thy boasted Grandeur, and Eternal Name, Shou'd e're my Soul in such a Scarlet dy'd. To glut the hunger of thy tow'ring Pride. Oh! What can wash it white? Rivers and Seas, Are all too shallow for such Blots as these. The Watry Element hath not a Flood, To cleanse the Stain of Paricidfial Blood. (Enter Memnon Oh, I faint— behind and Upon thy Bosom let me lean a while; . . . stabs him, he falls)

MEMNON: My ready hands have your Commands perform'd, And thus I run to clasp my bliss-- THERMUSA: Hold off-- MEMNON: How, Madam! Have not my Actions purchas'd yet Your favours? THERMUSA: They have, and I'll reward them, (Falls on Guards, seize the Traytor. the Dead Body, Oh my dear Murther'd Lord as the Guards enter) MEMNON: Am I betray'd? Then Love I blow thee hence; Spirit of Hate drawn from the Lees of Nature, Assist me now, whilst thus I act Revenge (Stabs the Queen [Thermusa], THERMUSA: Curst Villain! Guards seize him.) But thus thou shalt not brag thy Treachery,“ Bear him away, and let the Murderer taste The subtil'St Pains e're tortur'd Wretch yet felt, worse than the Damn'd partake, or Devils invent. MEMNON: They're Merciful to thee, nor shall I find. In Hell a Fury worse than Womankind. (Carry'd off by the Guards.) 22

Enter Artaban, Lysander and Guards.

ART; What is the meaning of this Scene of Horrour. QUEEN: Oh Artabanl E're to the Shades of everlasting Night My Soul its Journey makes. Hear me, I must be short my Summons calls me hence; Love was the cause of this, and Love to thee Thou best, thou most deserving of Mankind; For thee. Great Phraates fell by my Command; For thee I met my Fate by Memnon's hand; Alinda was the next that must have fell; Forgive me, and my Death will prove a Blessing. (Dies)

Enter Emillia

EMIL: Oh, Sir, this Scene of horrour you behold. Comes short of what must follow your poor Alinda. ART; Ha! my heart bodes horrour. EMIL: Deny'd your Life by her remorseless Father, In wild Despair she took a fatal Draught, That will with racking Torments end her Life. ART: Oh Gods! my fears prove true. Enter Alinda led by two Women. ALIN: I burn, I burn. I'm all one Funeral Pile; A flaming Bolt shoots thro' my hissing Veins; Not as young Phaeton's Wheels that drove the Sun and set the World on Fire. ART: Why was I born To see this Day! What will the Gods do with me. ALIN: Oh for a Rock of Ice, a Bed of Snow To lull my pains, and hush my sleeping Feaver: Here, take me quick, throw me into the Sea, Pour Oceans o're me. Plunge me. Sink me. Drown me. If all the Waters of the Deep can quench My blazing Mines of Fire. ART: No pittying God! No aiding Power to drop these lovely Ruines. ALIN: Stand off, and let me go. I'll mount the Pole, Drive round the Northern Wain, and freeze to a Star. Oh 'tis a Glorious Chariot, ha, ha, ha. Sherurana, Phraates, Artaban, look there, ^ Yonders my Love, Oh 'tis a fine old Gentleman. See how the Grizly Frost, and Reverend Isicles Hang on his heary Beard a front of Snow, Soft as the Down of Doves, and Cool as Charity. ART: Answer my aking Heart, speak Life my Fairest. ALIN: Nay, I have choice of Lovers, if that old dull Winter Fool don't like me, he has a Rival Will be more kind, kind Death: Yes, he'll be 23 Kind indeed; no angry Kings will hinder me From his Embracing Arms; he has a Nuptial-Bed ■ - Prepar'd for poor Alinda. ART: Sweetest Innocence Yet speak to thy mourning Artaban. ALIN: Ha, my dear Artaban, and art thou come. To hand thy poor Alinda to her Gravel 'Tis kind, 'tis wondrous kind; but how more kindly Had our Stars smil'd, might I have Liv'd, my Artaban1 What a long thousand thousand Years of Love Which those dear Arms had given me, have I lost! But I am not so poor; what Earth has robb'd me off, [sic] The Gods will give me back: There we shall meet No Rival Queens, nor Tyrant Fathers part us. There I shall mount to everlasting Joys, To Love Heaven and Artaban. (Dies) ART: She's Dead, she's Dead, that Soveraign of my Soul Has left the World and me; and dares this Traytor. This Rebel heart out-live the fatal Blow? No; Love's fair Martyr, thou hast reacht Heaven before me; But thus I'll post to follow thee. (Falls on his Sword) The Eternal Gordian's ty'd; so now no Tyrant's Sword Shall cut these Bonds of Love: Ah my Alinda, I'll find the[e] out in the blest Walk above : In that last Path my Love can never stray. Thy own bright Beams, fair Saint, shall light the way. CAST. SEN. Farewel, young Hero: Was ever Faithful Pair like this? When these Last Wounds the Seals of Truth and Love they give. How have they Dy'd, to shew us how to Live. FINIS

In both of the examples above the outcome merely evokes a. feeling of pity for the innocent unfortunate victims of circumstance. Terror does not grip the heart and soul as in high tragedy. As a point of fact, very few high tragedies are to be found among the serious plays of this time. The tradesman could not identify with greatness, and thus could scarcely be empathetic or sympathetic towards the fall of a noble soul. More than this, he was much more favorably inclined towards being entertained and 24 a "they lived happily ever after" ending.

This is not to say that the audience disavowed violence. Quite to the contrary, the more persons poisoned, murdered, maimed, racked, raped, beheaded, disemboweled, quartered and hung on hooks for all to view, the better.2

(Such butchering is vividly displayed in an engraving of a torture scene from an earlier play. The Empress of Morocco

(1673), by 1Ikanah Settle.)3 The sole claim to tragedy for many of the serious plays is relegated to this generous out­ pouring of blood. Referring again to the tragedy Ibrahim, a slave is stabbed (III, p. 24), a messenger is strangled

(IV, p. 32), and the Visier is given to the crowds to be torn asunder (V, pp. 32-33). Adding these three to the six already mentioned above, we arrive at a grand total of nine deaths. In Neglected Virtue, five of the main characters perish within the confines of the final act.

Because of the make-up of his new audience, the comic poet could hardly afford to continue to poke fun at only the tipsy tailor or the bumbling butcher. The aristocrats had to come in for their share of ridicule as well. As

Cibber aptly pointed out in the prologue to The Careless

2ln Rowe's The Royal Convert (1707) is the following scene: ". . . A Fire is prepar'd on one of the Altars; near it are plac'd a Rack, Knives, Axes, and other Instruments of Torture. ..." (V, 51).

^Reproduced in Allardyce Nicoll, The Development Of The Theatre (4th ed. rev.; London: George G. Harrap & Co. Ltd., 1958), 167. 25 Husband (1704), the persons appropriate to comedy are not

those of low degree, but: . . . they whose Birth, and Education says They've every Help that should Improve Mankind, Yet still live Slaves to a vile Tainted Mind; Such as in Wit are often seen t'Abound, And yet have some weak Part, where Folly's found: For Follies sprout like weeds. Highest in Fruitful Ground.

Such are the persons we today provide. And Nature's fools for once are laid aside. . * .

More often, however, the jests were spread around to

cover all segments of the audience so that each might have

opportunity to laugh at the other. Such was the case in The

Humours of the Age (1701), where the poet Thomas Baker relates in the prologue:

But yet your Tasts so strange of late we find. New Authors have small hopes to prove you kind. Now 'tis not Sense, and Wit best entertains. Nor what's writ most by Rule, most Favour gains: But he that has most Whimsies in his Brains. For the French Modes are so much our Disease, That ev'n a Play must be Ragou to please; Therefore this Poet to secure his own. Seeing the various Humours of the Town, Has got some Fancy to please every one. To gain the Court, he calls the City, Fools, To please the Citts, the Court he redicules; To win the Beaux, that nice i'th' Box appear. He laughs at Gall'ry Things that Ape an Air, The Men of Sense, there due Respect he shows. And to divert their Spleen, presents the Beaus; In short, there's not one Fool in all this Town, But is by Character, or Satyr, shown; . . .

To a large extent, variety was the spice of life.

Thus for those who desired neither blood nor laughter, there was tragi-comedy, that hybrid genre so named not

". . . i n respect of mirth and killing, but in respect it 26 wants death, which is enough to make it no tragedy, yet brings some near it, which is enough to make it no comedy"— in modern terms, a melodrama/*

Management

Changes had also occurred in the operation of the theatre. For nearly thirteen years plays had been produced under the auspices of one joint enterprise, the United

Company. When, on 23 October, 1693,5 Alexander Devenant, one of the two patent owners of the company, fled to the

Canary Islands to avoid prosecution for his slippery finan­ cial manipulations, he set off a chain reaction that even­ tually led to a division of the Company. Primary contribu­ tor to this breakdown was the cunning lawyer Christopher

Rich. Both he and Sir Charles Skipwith had purchased shares in the patent of Devenant as investments and to give

Devenant financial assistance. When Devenant absconded.

Rich moved not only to usurp Skipwith's prerogative as major shareholder and assume Devenant's managerial positiOJT by himself, but also to wrest control from the other patent owner, Charles Killigrew. Although not entirely successful in the former venture. Rich did"emerge as "chairman" of the three owners and control passed largely into his and

*^Wilson, 53.

^Leslie Hot son. The Commonwealth aind Restoration Stage (Cambridge: Harvard University Press, 1928), 293. 27 Skipwith's hands.

Both Rich and Skipwith were completely lacking in theatrical acumen. Their ineptitudes led to lower profits,

lower profits to reductions in salaries, lower salaries to disenchantment among the players, etc. And, as if a bleak

financial situation were not enough, they compounded matters by violating the seniority rights of the actors, giving

the leading roles to the younger players. When, in December,

1694, the older players led by Thomas Betterton, Elizabeth

Barry, and Anne Bracegirdle confronted the two via the Lord

Chamberlain with a list of grievances, they were unimpressed

and made no amends.® An appeal was subsequently made for,

and a private audience granted by the King. Shortly there­

after, on March 25, 1695, the Lord Chamberlain's office

issued to Betterton et a separate license to act,

restoring the two-company situation that had existed prior

to 1682. Betterton and his followers established themselves

at Lincoln's Inn Fields, enjoyed unusual success with their

opening play, Congreve's Love For Love, and were off to a

good start.

For Rich & Co. the picture was not so bright. While

they retained control of both of the good theatres, viz.,

Drury Lane and Dorset Garden, they were left by and large

with only the younger, less talented, and less experienced

®See documents relating to this matter in Allardyce Nicoll, Restoration Drama 1660-1700 (4th ed.; Cambridge; University Press, 1952), 368-379. 28 players. Not only that, but acting was suspended following the death of Queen Mary, December 28, 1694. Thus, by the time the suspension was lifted (March 30, 1695), some three months of the season had passed without any receipts. This, plus the large expenditures needed to hire new personnel, to retain those that were left, and to win back some of those that had deserted, told heavily on the pockets of the three owners. As Rich himself later related:

subsistence money was allowed not only to several actors and others who did not desert . . . But also to several persons who were hired and entertained to act, sing, or dance under the said Letters patents to fill up the Company; And moneys were expended in and about Rehearsals of plays and pre­ parations for acting, and with intent to hinder the said deserting actors and others from setting up or acting for themselves in Opposition and prejudice to the said Letters patents and the Interest under the same.?

The crisis was evidently quite severe, for Rich says further that he, Skipwith and Killigrew: debated between them . . . whether to carry on acting or to desist by reason of the said chief actors and others deserting as aforesaid . . . [However,] it was thought that if acting were not carried on under the authority of the said Letters patents that the whole concern might be lost; And therefore it was resolved . . . to carry on acting with all possible vigor, and for that purpose to hire and entertain Actors and others, and to Endeavor to procure the Return of all (or so many as could be) of such as had deserted, and to use such means as should be advised for the Recalling or annulling of the said License granted . . . by the Earl of Dorset.®

?Hotson, 299-300.

®Ibid., 300. 29 . It is obvious from these statements that the direc­

tors had been jolted out of their lethargy and their posture of aloofness. But yet, while salaries were doubled for

those primary actors who remained, it is just as apparent

that the real concern of the directors was less with the welfare of their actors than with the preservation of their own business interests. At any rate. Rich & Co. did weather the storm. And, with the energy and adaptability of their younger actors in contrast to the internal dissension con­ stantly gnawing at Betterton & Co., Rich & Co. soon emerged as the stronger of the two playhouses.

Rich continued as primary director of Drury Lane until June 6, 1709, when he was dismissed for disregarding the Lord Chamberlain's order (issued April 30, 1709) pro­ hibiting him from deducting more than L 40 for house ex­ penses on the night of a benefit performance for an actor.^

Drury Lane was also closed. At the beginning of the regular season the following September, Drury Lane was re-opened under the management of^Aaron Hill.

Two important events occurred during this period from 1695 to 1709.^® On April 9, 1705, the Queen's theatre,

^Emmet L. Avery (ed.). The London Stage 1660-1800, Part 2, I (Carbondale: Southern Illinois University Press, 1960), 175.

l^A third perhaps should also be mentioned, viz., the summer offerings at Greenwich theatre, inaugurated by William Penkethman in 1709. 30 built by John Vanbrugh, opened in the Haymarket with the opera The Loves of Erqasto.^^ For the following full season,

Vanbrugh turned the management over to Owen Swiney, a move apparently looked upon very favorably by Rich. As a result, most of Rich's best players (among them Colley Cibber and

Robert Wilks) were allowed to transfer to and act at the

Queens.12 More important for Daniel— that is, if he received any recompense for additional performances^— was the fact that plays using his music were now presented at two theatres. This practice continued until January 13,

1708. At that time an agreement between the two theatres relegated dramatic productions to Drury Lane (to be given nightly except Sunday), and Italian opera to the Queens (to be given two nights a week, Tuesday and Saturday).

Because of insufficient proceeds to pay for opera, and possibly the change in manager, this agreement was dis­ continued during the 1709/1710 season, and the two theatres

(the Queen's once again under Betterton) reverted to their former practice of competitive offerings. This action was not to stand, however, for on November 6, 1710, Swiney,

l^Avery, Ixxii. Pulver's statement in A Biographical Dictionary. . . ., p. 377, that Daniel Purcell's Orlando Furioso was given for the opening is therefore incorrect. Probably the opera was presented during the second full season (1706/1707) of the theatre, for the Muses Mercury . . ., I, 1 (January, 1707), 11, mentions it as one to be given that year. 12&1SO see comments by Colley Cibber, ^ Apology For The Life Of Mr Colley Cibber, ed. Robert W. Lowe, I (London: John C. Nimmo, 1889), 331-337. 31 Wilks, Cibber and Thomas Doggett were granted a license to act, and on the twentieth of that month, moved to Drury

Lane. As a result, dramatic offerings were once again pro­ duced solely at Drury Lane, and Italian operas at Queens, now under the management of William Collier. Two modifica­ tions were made in the scheduling of the presentations, however. Opera was still presented twice a week, but on

Wednesday (rather than Tuesday) and Saturday. Drury Lane

reduced its presentations to five nights a week (Monday,

Tuesday, Thursday/- Friday, and Saturday) to allow the Queens

the necessary financial advantage of one night without

competition. —-

Except for changes in management, this theatrical

arrangement remained virtually the same until December 18,

1714. On this date the new playhouse in Lincoln's Inn

Fields opened. Built by Christopher Rich and under the

management of John Rich, his son— Christopher had died

before the opening— it brought to a close the dramatic

monopoly so long enjoyed by Drury Lane.

Scenes and Machines

The division of the United Company in 1695 into two

competitive playhouses undoubtedly revitalized the interest

in, and certainly added new importance to, theatrical display.

Although changeable scenery had been introduced at the out­

set of the Restoration in the revival of Davenant's Siege of 32 Rhodes (1661),13 and its effects along with those of stage machines had been exploited by both the Duke's and the

King's Companies up to the time of their union in 1682, the audiences' fascination with the startling, the magnifi­ cent, and the unusual had not abated. For the "new audience" now beginning to assert itself at the theatre, the spectacular had even more appeal. Rich & Co., struggling to survive while rebuilding on the one hand, and competing with a company of superior actors on the other, turned to superior facilities of their two theatres as one means of countering the appeal of the better acting:

. . . Between us and the other Theatre There is proclaim'd, and still maintain'd a War. And all, but knocking out of Brains, is fair. We're blam'd for raising in one Night, what they In thirty tedious days can scarce display; But that to our Advantage sure, is spoke; So Heusler by swift Marches, gain'd his Work: And Cut off the Provision of the Turk. And therefore, if the Truth you would declare; Say Gallants, to your Smiles, who bids most fair; Our Growing Spring; or Fading Autumn there? Besides, though our weak Merit shines less Bright, Yet we'ave the Advantage, a Fairer Light, Our Nobler Theatre's. Nay we are bringing Machines, Scenes, Opera's, Musick, Dancing, Singing; Translated from the Chiller, Bleaker Strand, To your Sweet Convent-Garden's Warmer Land. To us. Young Players, then let some Smiles fall: Let not their Antiquities sweep all. Antiquity on a Stage? Oh Fyel 'tis Idle: Age in Good Wine is well, or in a Fiddle. Ay then it has a little Musick there; But in an Old, Intrepid, Wither'd Player; It looks like a stale Maid at her last Prayer.

l^See discussion of this in Richard Southern, Changeable Scenery (London: Faber and Faber Ltd., 1952), 109-123. 33

Therefore divide your Favours the right way. To th' Young your Love, to th'd old your Reverence pay. (Prologue: Bonduea: or the British Heroine, 1696)

For the normal presentation, the curtain (usually

green and unscenic) rose after the prologue and remained

open until the epilogue had been delivered. Only for

special circumstances, e.g.. Act V of the Island Princess, was the curtain dropped or utilized during the play itself.

Thus, the various changes of scenery took place before the eyes of the audience. Because of this factor, the scenery was an active participant, an operative factor in the play, rather than simply an adjunct to form the proper background or setting for each scene.

Some of the side scenes were apparently made of solid wooden panels as well as canvas stretched over a wooden frame. Many were undoubtedly painted on both sides to save materials and storage space.

In some romantic gafdens and water scenes there were translucent sections of painted or oiled silk. These were used to give shimmering moonlight effects on the water, for distant lights, active volcanos, burning cities and so o n . 14 T h @ stage lights would be

^^The frontispiece in the 1711 edition of Beaumont and Fletcher's Island Princess, reproduced in George C. D. Odell, Shakespeare From Betterton To Irving, I (New York: Charles Scribner's Sons, 1920), opposite page 294, shows a burning castle. Footlights are shown in an engraving reproduced in Southern, Changeable Scenery, plate 27 oppo­ site page 161, from A Second Tale Of A Tub (1709). Also noteworthy is an account of 1670/71 that provides for "... making a trough at ye foote of the stage for lights to stand in." See Eleanore Boswell, The Restoration Court Stage (1660-1702) (Cambridge: Harvard University Press, 1932), 47. 34

darkened, the foot lights lowered [in depth, i.e., under the stage], and candles would be revealed be­ hind the translucent sections to give colorful romantic charm to the scene. Heavens and glories were done in this same way.

In some scenes mood and atmosphere as well as time of day and climate or season was indicated by painting techniques. A garden by moonlight would have been painted in cool blues, greens and silvery highlights. The effect would then have been intensified by trans­ lucent areas around the moon and on the water in the fountains or stream. The stage would have been darkened; and there might have been some attempt at a wash of pale blue or greenish light, made with bottles of colored liquid and stained glass or colored cloth held in front of the lights.15 To provide for quick changes, the scenes— whether wings (i.e. side scenes), shutters (divided back scenes), or flats (probably scenes of solid canvas as opposed to those having holes through which one could see for purposes of perspective) 15— were placed in grooves one behind the other.17

As the front set of scenes was "drawn off," the set in the second groove was "discovered" along with any characters that might be associated with it. Conversely, if there were a return to a former scene, the characters would commonly remain on stage and be blotted from view by the closing of that scene rather than making an exit.

15Allan S. Jackson, "Restoration Scenery 1656-1680," Restoration and 18th Century Theatre Research, III, #2 (November, 1964), 25-38.

l^See Southern, Changeable Scenerv for other possible connotations of this word.

l?See Plate II in Appendix B for spacing and disposi­ tion of these grooves. 35 Quite often a character would go from one scene to another. On such an occasion the stage direction "manent" was given, indicating that the character was to "remain" on

stage during the change of scene, perhaps taking a few

steps down stage and/or to the right or left in order to

allow the scene to "draw" or "shut" behind him. In an

instant he was in a different setting. To separate the

acts, all characters would exit and a pause would ensue.

During some of these breaks special entr'acte entertainments were presented.

To accommodate the use of various flying machines,

the scenes were divided horizontally as well as vertically.

With this division, the top part of the scene could draw

and "discover" the gods in their chariots independent of

any changes being made below. To facilitate the antics of

furies, demons, and other characters of the abyss, various

types of machines and trap doors were located on or beneath

the stage.

The movement of the machines and scenery was not

without its hazards. For a production of The Prophetess ;

or. The History of Dioclesian. (December 3, 1715) the following request was made;

. . . And whereas there are a great many Scenes and Machines to be mov'd in this Opera, which cannot be done if Persons should stand on the Stage, (where they could not be without Danger) it is therefore hoped no Person will take it ill that they must be deny'd Entrance on the S t a g e . 18

iSAvery, 379. 36

Nor were the poets totally enamored with the amount of emphasis being placed on scenic effects. In the prologue of The Funeral (1701) the poet laments :

Nature's Deserted, and Drammatic Art, To Dazzle now the Eye, has left the Heart; Gay Lights, and Dresses, long extended Scenes, Daemons and Angels moving in Machines. All that can now, or please, or fright the Fair, May be perform'd without the Writter's Care, And is the Skill of Carpenter, not Player: . . .

The current stocks of scenes and mechanical devices of Rich's two theatres was an^le to provide the necessary variety of palaces, forests, bowers, ascending and descend­ ing gods or devils for even the most lavish productions.

To wit, George Powell's opera, Brutus of Alba (1696), where the following was presented:

I, 1: The Scene is. The River of Thames, the Prospect reaches as far as can be seen from the Bridge, in a clear Day: On one side of the Stage, lies Augusta, attended by Cities; on the other, Thamesis, attended by Rivers; Angello hovering in the Air. After a Sym­ phony of Musick, Angello speaks.

I, 1, 2: Hermes Descends in his Chariot, drawn by Ravens. 3: Augustus, Thamesis, and their Attendance all Sink. 3: Angello and Seraphina ascend. 6: The Scene Changes to a Poetical Hell; there is a Figure of the Prometheus Chain'd to a Rock, the Vulture knawing his Liver; Sisiphus rolling the Stone; beyond abundance of Figures in various Torments ; then a great Arch of Fire, behind this a Pyramide of Flames in perpetual Agitation; behind this glowing Fire which luminates the Prospect; then rises the Court of Pluto. .

II, 1, 10: The Scene is a very pleasant Garden; in the midst of the great Walk is a Fountain, and on each side the Stage large Figures, standing in Shells, at the farther end is fill'd with Cascades. 16: He waves his wand, and behind the Fountain rises a Triton and a Sea Nymph, who sing a Dialogue. 37 II, 1, 17: Carries her away and plunges with her. After the Dialogue rises eight Statues who leap of[f] their pedestals and Dance; after the Dance they sink . . .

III, 1, 19: The Scene is, A very Pleasant Grove, and Stately Garden, belonging to the Pallace; the Great Walk is bounded on either side with Figures of Gold; and in large Vases of Gold, are Orange, Lemon, and other Trees. 22: Coreb waves his Wand, and a Misty Cloud rises out of the Earth; as it ascends, a great Wind­ mill is discovered, out of which comes Millers, and Countrey Women, who Dance; After their Dance, the Wind-mill is changed into a Witch, out of which come several Devils, who Dance with the Witch, and then sink. 23: Angelo seen in the Air with Hermes 25: Iris descends on a Rainbow, and comes forward 25: While this Chorus is Singing, Juno, Iris, and Mercury ascend.

IV, 31: Waves his Wand, and a Banquet rises, they sit down, and two Scaramouch Men, and two Scaramouch Women Enter and Dance: Then two Harlaquin Men and Women . . . 32: The Scene changes to the Cliff of Dover, Augusta, Thamesis, and their Followers rise out of the Sea and Sing.

V, 1, 52: As the King enters, the Cave of Proteus rises, which consists of Twelve Arches of the Tuscan Order; The Frontispiece is adorn'd with a Tritan, a Neired, and several Sea-monsters, enrich'd with Mother-Pearl, Coral, and Sea-shells. At the farther end Proteus appears, with his Followers, who come forward and sing. 53: Scene changes to a stately Palace, com­ pos'd of wreath'd Columns of the Corinthian Order; the Wreathings are adorn'd with Roses, and the Columns have several little Cupids flying about 'em, and a single Cupid standing upon every Capitol. At a good distance are seen three Arches, which divide the first Court from the other part of the Building; The Arches are beautified with Festoons; all the Cupids, Capitol, and Enrichments are of Gold. 54: Soft Musick. Seraphino descends. 55: A very large Machine descends, the Figure of it is Oval, the Clouds Gold, with Figures of Cherubims flying about. In this Machine sits Apollo, Cupid, 38

Mars, Vulcan, Juno, Venus, etc. Apollo sings. 59: As Apollo's Heaven ascends, the Temple of Fame rises from underneath the stage, in which is Fame, and his Followers: Fame comes forward, with his Followers, and sings:

The attraction of the totally new could not be altogether denied, however, despite the expense of such an undertaking (Isaac Fuller asked the sum of £ 335 10s for a

"Paradise" in 1669).19 Thus, in June of the same season

(1696/97), Settle's The World in the Moon was produced. In his dedicatory epistle the poet relates;

. . . This Performance, I confess, wants an Universal Protection: For if Industry, Labour, and Expence, can deserve a Smile, it stands high for a Favourite. So Great an Undertaking, I am sure has never been on an English Stage; . . . And here I think my self obliged to do the Pencil this Publick Right, to tell the World, That never was such a Pile of Painting rais'd upon so Generous a Foundation; especially under all the Hardships of so backward a Season of the Year (our Misfortune, not Fault.) . . . As to the Entertainment it self, I hope I shall not be vain to say. That the Model of the Scenes of this Play, are something of an Original: I am sure I have removed a long Heap of Rubbish, and thrown away all our old French Lumber, our Clouds of Clouts, and set the Theatrical Paintings at a much fairer Light. . . . 'For as I dare confidently averr, the Prospect of this Stage will put all the old Rags out of Counte­ nance: So I hope the Town will graciously please to pardon the undeserving Scribbler, for some small Merit in the Projector.

A contemporary account (Post Boy, June 12-15, 1697)

^9Jackson, 27. Names of scene painters may be found on page 36, footnote 8 of this same article, and in Sybil Rosenfeld and Edward Croft-Murray, "A Checklist of Scene Painters Working In Great Britain and Ireland in the 18th Century," Theatre Notebook, XIX (Autumn, 1964-Summer, 1965), 6-20, 49-64, 102-112, and 133-145. 39 of the preparations for this production notes that:

Great Preparations are making for a new Opera [The World in the Moonl in the Play-house in Dorset- Garden, of which there is great Expectation, the Scenes being several new Sets and of a moddel dif­ ferent from all that have been used in any Theatre whatever, being twice as high as any of their former Scenes. And the whole Decoration of the Stage not only infinitely beyond all the Opera's ever yet per­ formed in England, but also by the acknowledgment of several Gentlemen that have travell'd abroad, much exceeding all that has-been seen on any of the Foreign S t a g e s . 20

The audience was treated to quite a visual feast:

The Curtain rises, and discovers the Flat Pallace, with a new Arch, richly decorated with Gold; with these Three Motto's: Vives dabit amula Virtus-- Spectemur agendo-- Per Apellem splendet Apollo. The Cieling [sic] being new painted with the Figure of Majesty seated upon a Globe, encircled with Glory, and attended by Cupids, etc.

I, 1, 6: The Flat-Scene draws, and discovers Three grand Arches of Clouds extending to the Roof of the House, terminated with a Prospect of Cloud-work, all fill'd with the Figures of Fames and Cupids; a Circular part of the back Clouds rolls softly away, and gradually discovers a Silver Moon, near Fourteen Foot Diameter: After which, the Silver Moon wanes off by degrees, and discovers the World within, con­ sisting of Four grand Circles of Clouds, illustrated with Cupids, Etc. Twelve golden Chariots are seen riding in the Clouds fill'd with Twelve Children, representing the Twelve Celestial Signs. The Third Arch intirely rolling away, leaves the full Prospect terminating with a large Lanschape of Woods, Waters, Towns, etc. Enter Cynthia's Train, being Twenty Singers, and other Retinue. 7 : A Dance of Four Swans. To them enter Five green Men, upon which the Swans take Wing and fly up into the Heavens. The green Men dance; which con­ cludes the Act.

20william Van Lennep (ed.), The London Stage 1660- 1800, Part 1 (Carbondale: Southern Illinois University Press, 1965), 480. 40

II, 14: During a Symphony of Musick, a Palace of Cynthia, near Twenty Foot High, appears with the Clouds; supported upon Twelve Pillars [word blurred] is Lazari; fluted with golden Darts, shafted and plumed with Silver; the Capitals, Bases, and all the Enrichment of the Roof and the Etableture of Silver.

III, 17: Scene Mr. Deputy's House 20: The Scene draws, and discovers a magnificent Pallace, consisting of Seven Arches, extending near Thirty Foot high, the Pillars of which are white twisted Marble; the Capitals, Bases and Girdles cir- culed with Foliage, Fruitage, Cupids and Coronets of Gold; the whole entire Roof of all these Arches en­ rich'd with Pannels, Mouldings, and carved Flowers of Gold; the Visto continued with a new Order of Dorick Pillars of Egyptian Marble, terminating with a Triumphal Arch. ^22: Two Beau's arise from under the Stage; *o whom enter Two Young Ladies and dance.

IV, 1, 26: The Scene a Wood, near Thirty Foot high, the Paintings meeting in Circle; all the Side-Pieces and Back-Scene cut through, to see a farther Prospect of a Wood; continued to the Extent of the House. An Imperial Bed appears on the Stage of Crimson Silk, enrich'd and furl'd with Gold, and other Ornaments; with a Bed and rich Counterpane, Tom, lying in it. 26: Two Dancers enter, who are immediately interrupted by Thunder. The Bed and all the Furni­ ture drops down under the Stage. 27: Scene Mr. Deputy's House 31: The Scene, An Arborage of Palms and Lawrels, consisting of Nine Arches, environ'd with Flotoons of Flowers, bound with Ribbons of Gold, and held up with Flying Cupids: 35: Enter Sir Dottrell with a Dark Lanthorn, [to signify darkness] and Palmarin with a Ladder, which he sets up to the Balcony. 42: Scene the last. Cynthia's Bower. Being a Prospect of Terras Walks on Eight several Stages mounted one above another, each Stage contains a Range of Stone-work extending from side to side, decorated with Paintings in Fresco of Heroick History; over each Piece of Painting are carved Rails and Banisters with Pedestals: On Thirty Two Pedestals are planted Sixteen Golden Flower-Pots, and Sixteen Statues of Gods and Goddesses, viz. Jupiter and Juno: Apollo and Diana; Mars and Venus; Neptune and Thetis ; Pallas and Mercury; Bacchus and Ceres; Hercules and 41 Flora; Cupid and Psyche. Through the Center, and advancing Twenty Four Foot high, is an Ascent of Marble Steps. This Sett of Scenes is encompass'd round with Arborage-work, circled round with double Festoons of Flowers tyed up in Ribbons of Gold, terminating at Fifty Foot deep, being the Extent of the House, with a Prospect of a Garden above the highest Terras. Above Fifty Figures are seen upon the several Terras's, some of which Descend upon the Stage for the Entertainment. A still more spectacular scene occurred in the

British Enchanters ; or. No Magic Like Love (1706, by George Granville):

II, 1, 16: . . . Instruments of Horrour are heard under Ground and in the Air. Monsters and Demons rise from under the Stage, whilst others fly down from above, crossing to and fro in Confusion: Clash­ ing of Swords behind the Scenes: Thunder and Lightning, during which Time the Stage is darken'd. On the sudden a Flourish of all the Musick succeeds, the Sky clears and the Scene changes to a pleasant Prospect, Amadis appearing leaning on his Sword, surrounded by Shepherds and Shepherdesses, who with Songs, Musick, and Dances perform the following Enchantment.

When one added these scenic displays to the vast array of colorful costumes— various combinations of golds, greens, silvers, scarlets, blues, crimson velvets, "cherry-coloured

Avinion," etc., often bedecked with lace, "Tinsey Ribbon," and other frills; plumes of feathers in as many colors, occasionally even speckled; large hats, shiny helmets and swords— the total effect could hardly have been anything short of breathtaking1 Variety was not limited to the facilities of the theatre, however. The diversity of the audience demanded more. Since any one thing was likely to appeal to only one 42 segment of the audience, several different types of enter­ tainment were presented during the three hours normally occupied in an evening at the theatre. Among these were dancing, (usually by Frenchmen), singing, and instrumental performances. Not an uncommon offering was that advertised to be given in conjunction with the December 8, 1702 pro­ duction of The Bath, or The Western Lass ;

Singing. 'Let the dreadful Engines' by Leveridge, 'Since the Times are so Bad' by Leveridge and Mrs Lindsey, 'Sing, Sing, All Ye Muses' by Laroone and Hughes, 'A Scotch Song' by Leveridge. Dancing. Between every Act by a Devonshire Girl never seen on the Stage before, who performs a 'Genteel Round' to the Harp alone; and Irish Humour, 'The Whip of Dunboyne,' with her Master; another genteel dance; a 'Highland Lilt' with her Master; and 'A Country Farmer's Daughter'; all in Natural Habits.21

Other musical attractions frequently featured were flute sonatas played by Mr. Peasable, singing by "the boy"

Jemmy Bowen and Mrs. Campion, sonatas of Corelli and

Gasparini, the "Bnthusiastick Song" from The Island

Princess, "I burn, I burn" from Don Quixote, and the

"Frost Scene" from King Arthur.

More on the novelty side was the entertainment to be given for the June 18, 1703 production of Love's Last Shift; or. The Fool In Fashion;

The Famous Mr Clynch will for this once, at the desire of several Persons of Quality, perform his Imitation of an Organ, with 3 Voices, the Double Curtel, and the Bells, the Huntsman with his Horn and Pack of Dogs; All which he performs with his Mouth on the

2^Avery, 29. 43 open Stage, being what no Man besides himself could ever yet attain to.22

Occasionally the divertissment went from the sub­

lime to the ridiculous— to wit, the production of The

Northern Lass (February 4, 1706) where it was advertised

that "A Comical Epilogue" would be delivered by—"'Pinkethman

riding on an Ass.Cibber relates that Rich was seriously

considering bringing an elephant onto the stage, but had to give up the idea when his carpenters advised him that the

theatre would cave in if they opened a hole in the wall

large enough to admit the p a c h y d e r m . 24

After the agreement (1705) between Swiney and Rich

allowing the transfer of actors to the new Haymarket theatre,

Rich's Company devoted itself more and more to divertiss- ments and entertainments while the new theatre (with practi­

cally all the good actors) concentrated on the improvement

of drama per se. About this development Cibber remarks

that Rich continued

. . . in his usual Method of paying extraordinary Prices to Singers, Dancers, and other exotick Per­ formers, which were as constantly deducted out of the sinking Sallaries-of his Actors: . . . it seems he had not purchas'd his Share of the Patent to mend the Stage, but to make Money of it: And to say Truth, his Sense of every thing to be shewn there was much upon a Level with the Taste of the Multitude, whose Opinion and whose Money weigh'd with him full as much as that of the best Judges. His Point was to

22ibid., 38. 23ibid., 116.

24cibber, II, 6. 44

please the Majority, who could more easily compre­ hend anything they saw than the daintiest things that could be said to t h e m . 25

Theatre Design

A precise description of the interiors of the theatres in which these productions were given must await the discovery of more extensive contemporary evidence.

However, the general design of Dorset Garden can be deter­ mined from a description by Francois Brunet in 1676; that of Drury Lane from an account of Henri Misson who traveled in London in the last decade of the 17th century; and that of Vanbrugh's Opera House in the Haymarket from a design by

Gabriel-Martin Dumont that incorporates the alterations of 1707/1708.26

From Francois Brunet it is learned that the amphi­ theatre of Dorset Garden sloped upwards toward the boxes.

"On the lower tier were seven boxes, each seating twenty persons; above these, the middle gallery was divided into seven boxes of equal capacity; and above this portion was

25Ibid.

26London County Council, Survey of London, XXIX (London: London County Council, 1960), 227. According to Cibber, I, 321, the alterations included the replacement of the "Semi-oval Arch" over the orchestra "that sprung fifteen feet from above the Cornice" with a flat ceiling to prevent the "undulations" that garbled the words of the actors.'' The width of the theatre was also contracted by three ranges of boxes on each side. Avery, xxvii. 45

the upper g a l l e r y . "27 in the description of the scenes in

The World in the Moon (p. 42) it is noted that the stage was "fifty foot deep," a measurement that apparently

included the apron in front of the proscenium arch as well as the stage area behind it. Making allowance for the boxes

(or at least doors for purposes of exiting from the apron), the width of the apron was probably no more than 35' to 40' and undoubtedly narrowed some as it approached the pro­ scenium arch. (The outside dimensions of the theatre are given as 140' x 5 7 '.)28 That there was an abundance of space above the stage is indicated by the thirty foot high scenes used in this same opera (pp. 20, 26).

Not only is the interior described, but the seating arrangement as well is given in the account of Drury Lane by Henri Misson:

There are two Theatres at London, one large and handsome [Dorset Garden], where they sometimes act Opera's and sometimes Plays; the other [Drury Lane] something smaller, which is only for Plays. The Pit is an Amphitheatre, fill'd with Benches without Backboards, and adorn'd and cover'd with green Cloth. Men of Quality, particularly the younger Sort, some Ladies of Reputation and Vertue, and abundance of Damsels that hunt for Prey, sit all together in this Place, Higgledy-piggledy, chatter, toy, play, hear, hear not. Further up, against the Wall, under the first Gallery, and just opposite to the Stage, rises another Amphitheatre, which is taken up by Persons of the best Quality, among whom are generally very few Men. The Galleries, whereof there are only two

27Lennep, xl.

28ibid. See a reproduction of the exterior of this theatre in The Musical Times, C (June, 1959), 321. 46 Rows, are fill'd with none but ordinary People, particularly in the Upper o n e . 29

The outside dimensions of this theatre were almost identical to those of Dorset Garden after the addition of a twenty- eight foot tiring room onto the original 112' x 59' struc­ ture. On the inside, however, the stage depth behind the proscenium arch appears to be about fifteen feet, the apron in front of it approximately seventeen feet,30 thus nearly twenty feet less than that of Dorset Garden.

The width is again uncertain. However, the designs show clearly that the two exit doors and gallery boxes on both sides of the apron were in a substantial margin from the outer walls (see Plate II, Drawings 2 and 3, Appendix B).

When Rich placed additional boxes along the sides and shortened the forward part of the stage to increase the seating capacity of both the side and pit areas some time before 1700, the actual acting area was further contracted.

The designs of the Opera House are sufficiently com­ plete to require but little additional explanation (see

Plates III and IV, Appendix B). Two items should be noted in Plate IV^, however, viz., the lighting fixtures above the inner stage (probably of the same type used in many of the plays), and the three musicians with music in front

located in the upper gallery on the right.

29&ennep, xli-xlii. Also see Plate I, Appendix B.

30Nicoll, The Development . . ., 163. CHAPTER III

THE THEATRE MUSIC OP DANIEL PURCELL

Instrumental Music

Introduction

The purely instrumental music of the plays and operas consists of both single and multiple movement com­ positions. Included in the single movement category are symphonies, act tunes, and ritornels. Multiple movement compositions include symphonies, sonatas, and overtures.

While this nomenclature is not always unequivocal, the terms in most instances do denote particular types, styles, or forms of compositions. In the case of the sym­ phony there is a greater latitude and variety than in any of the other classifications, but even here certain charac­ teristics are usually found. As a. one-movement form it is usually rather short (often no more than ten or twelve measures); it is homophonie with occasional bits of imita­ tion between the outer voices; it is normally set to a duple meter, rarely to a triple, never to a 3/8 or compound meter; and its rhythmic pulse proceeds in quarter notes.

The symphony as a multiple-movement composition^ is the same as the sonata. Both normally have three movements.

47 48

The first movement is predominantly homophonie. Although characterized by eighth plus two sixteenth-note rhythms its unit of beat is the quarter note. The second movement, a short adagio is characterized by quarter-note rhythms and a rich adventuresome harmonic style. The third movement is an imitative piece in 3/8 or 6/8 meter. In one instance, the opening "Symphony" in the Judgment of Paris, a canzona is inserted as the second movement, making it a four-move­ ment composition. Also noteworthy in regard to this particular symphony is the use of dotted eighth, sixteenth- note rhythms for the first movement in place of the more usual pattern.

The overtures are more accurately described as orchestral suites. They begin with a French overture and continue with six to eight dance tunes of various types. A homophonie style and dotted rhythms set to a duple meter characterize the initial movement. The second movement is imitative and may be either duple or triple. Only infre­ quently is there a brief adagio at the conclusion of the second movement (see Cynthia and Endimion). By far the most common designation for the dance tunes is "aire," a catch­ all for several different kinds including jigg, round o, minuet, and alman. These aires sometimes have more descrip­ tive titles such as "slow aire," "brisk aire," or "trumpet aire," but many have only the single word. In addition to the different kinds of dances named above the bore, hornpipe. S' 49

chaconne, gavott, and march are included.

Comprising the remaining single-movement compositions

are "act tunes," "ritornels," and "first musick" and "second

_ - musick." Most often these conform to the style of the

single-movement symphony.

Only instrumental compositions of three or more parts

are included in this study. Except for the second movement

of the first "Symphony" of The Rival Queens, no piece is

presented where any part is lacking. Compositions not

identified with a particular play were excluded. Unless

justified by extra-musical considerations, no music from a

play or opera having as few as three individual pieces is

presented. (It will be noted from the music list in

Appendix C, however, that most of the instrumental music

available met these criteria.)

Because figured bass symbols are only infrequently

given or altogether absent, these three-part and four-part

instrumental compositions provide the major basis for the

study of Daniel's harmonic vocabulary, of his formal

designs, and of his contrapuntal techniques.

Therefore, in the following paragraphs discussing the

salient features of the instrumental music, special emphasis

will be given to these three considerations. The discussion

will proceed by individual play, drawing comparisons and

making analogies to similar pieces in other plays or operas

where appropriate. It should be stated at this point that 50 there is little if any difference between the music for a play and that for an opera except for quantity and therefore also variety. This variety, however, manifests itself more in the vocal than in the instrumental compositions.

Cynthia and Indimion; or. The Love's of the Deities

Of the four overtures to be considered, only that for Cynthia and Indimion has the final Adagio section (II, pp. 246-247, measures 40-50).! Although similar to the opening movement in its use of dotted note patterns, this section is much more daring harmonically. Particularly striking is the progression from c^ to a^ to a^® to a^| in measure 20, counts 1-3.

The first movement (II, p. 244), replete with dotted rhythms, is basically homophonie. However, imitation at the fifth, initiated by the top part and answered by the bass two beats later, occurs in measures 1, 5-7, and 8-9.

In contrast to the first movements in two of the other over­ tures, the final cadence of this first movement ends on the dominant rather than the tonic.

The subject of the second movement (II, pp. 244-246) is based on the descending form of the tonic triad, and as such relates to the opening melodic figure in the first movement. Because of the brevity of this second movement,

^This and succeeding entries in this form refer to the music contained in Volume II of this study. 51 little opportunity is found to manipulate or develop the subject other than presenting it in contrary motion (see measures 10-14).

Only two other instrumental pieces specifically designated as belonging to this opera have been found, viz., what is in all probability a "Symphony," (no title is given in the source) and "Cupid's Dance" (with Psyche in Act V).

As in the "Overture," the initial melodic idea in the top part of this "Symphony" (II, pp. 248-249) is imitated immediately by the bass. After that point, however, imita­ tion is" not used. Another technique involving the outer parts is found in measures 16-18. Here, the top part pre­ sents a descending sequential passage of fifths. To heighten the effect of these skips and to alleviate as much as possible the effect of parallelism, the bass presents its accompanying pattern in alternate octaves.

In contrast to the binary division of the "Symphony,"

"Cupid's Dance" (II, pp. 250-252) consists of three sections, each with a different meter and tempo. This piece suffers

from several faults: parallel octaves between the second part and bass in measure 5 and between the third part and bass in measure 41; a non-directional melody, especially in

the last two sections; and an erratic rhythmic movement.

It is perhaps only fair to remark that no name is affixed

to this piece and that it may not be by Purcell. A more

likely possibility, however, is that this manuscript version 52

(Royal College of Music MS 1172) is not the final one, for such egregious errors as the parallel octaves rarely occur in any composer's music of this period.

Royal College of Music MS 1172 also contains two other pieces that may belong to this opera, since-they are in the same key as the "Symphony" described above and appear on the previous folio. One is incomplete, having only the outer parts, and therefore is not included here. The other, a_short "Aire" (II, p. 253) is included because of its interesting rhythmic structure. The dotted patterns and fast meter combine to imbue a delightful bouncing quality to the piece, a quality that may have served well the entrance or dance of the antimask at the beginning of Act V.

The Rival Queens ; or. The Death of Alexander The Great

The "Symphony" for trumpet and violins (II, pp. 254-

263) comes from the third act of this production. Of note here is not the music itself, although the piece is not without interest, but rather its origin. This "Symphony," along with the vocal music in this Act (see list in Appendix

C), is taken from D. Purcell's A Song On The Anniversary of . . . Princess Ann Of Denmarke . . . [February 6] Anno

1697/8. Further still, according to McGuinness,^ Daniel borrowed "... the entire opening vocal movement of Blow's

^Rosamond McGuinness, "The Chronology of John Blow's Court Odes," Music and Letters, XLVI (1965), 116. 53 'Welcome, Welcome, Happy Day,' which had greeted triumphant

William in the preceding November" and incorporated it in

his birthday ode. Thus we have at least part of an ode

twice removed from its original function, serving in a

dramatic production.

Only two movements of the "Symphony" are presented

here complete, simply because the middle or slow movement is

lacking the upper three parts. While it is possible that

this movement was relegated to the continue group, all evi­

dence points to the contrary. It should be noted that this

middle movement does not exist in the "Ode," and that there

the "Symphony" is labeled "Overture." With the middle move­

ment, however, the piece conforms exactly to the description

of the multiple movement symphony given above.

The two flute trios (II, pp. 254-265) form part of

the music for Act V, the remaining instrumental music

having been composed by Godfrey Finger, who also composed

the music for the second and fourth acts. In both pieces

the upper parts move mostly in thirds or sixths, although

the texture of the first is decidedly imitative, whereas

the second is strictly homophonie. Both pieces as well are

. cast Jji binary form, the first moving to a cadence on the

mediant (measure 12), the second quite unusually progressing

to the subdominant (measure 10). The range of flute I in the opening measures of the

first trio extends beyond that used in any of the other 54 compositions. The harmony, not unexpected with the slow tempo, is quite colorful. Of special interest are the

resolutions of the suspensions in measures 5 and 9, and the progression in measures 6-7.

Indian Queen

The significance of the music from Act V of the

Indian Queen (II, pp. 266-269), like that of the Rival

Queens, results more from external circumstances than from

the music itself. Rliythmically the "Symphony" (II, pp. 266-

267) is extraordinary. Note particularly the one beat of

silence in measure 6 and the syncopation in measures 13 and

15. Other than this, however, neither it nor the "Trumpet

Aire" (II, pp. 268-269) has much to offer but simplicity.

Not to be passed over lightly, however, is the fact that

this music marked Daniel's entry into the theatrical world,

and allowed his subsequent rise to prominence as a theatri­

cal composer.

The Relapse? or Virtue in Danger

Although the outer parts are as usual the more

active, the two inner parts in the "Overture" to this play

(II, pp. 270-273) participate in the presentation of the melodic material to an unusual ex'cent. While in most

instances the melodic activity of these inner voices is

doubled at the third by one of the outer parts, the result

of the more complete imitative interplay as well as a more 55 precisely controlled harmonic progression produce a piece of considerably greater musical interest. Another result of the imitative interplay is the almost total permeation of the piece with the J J j } } affect. Aside from the first and second endings and measure 9, in each instance a measure containing a cadential passage, this affect occurs on every first and third beat of the piece. Characteristically, dotted quarter, eighth-note rhythms also abound.

Following a cadence on the dominant, the second move­ ment of the "Overture" begins with the subject stated in close imitation by pairs of voices (II, p. 271). The sub­ ject, based on the tonic triad, is simply a rhythmic varia­ tion of the melodic motive of the first movement. The top part follows the "g, f^, d," pattern of the bass part in the opening measure of the first movement,- and the second part follows the "d, b^, g," pattern of the top part in the first two measures of the first movement. The initial entry by each of the lower parts is doubled at the tenth (or octave and then tenth) by one of the upper parts.

From measure 6 to measure 15 the material appears to be new. It is based on a doubled eighth-note pattern in either its natural or ornamented versions:

1 a ~ R - f 56

One can consider it an inversion of the opening subject. m

After the cadence on the dominant in measure 16, the subject appears once again. This time, however, the last eighth, two sixteenth-note grouping is changed to a straight sixteenth-note pattern. This sixteenth-note pattern is employed in the bass line in measures 19-20 to prepare the cadence on VII in measure 21. Here the doubled eighth-note pattern of measures 6-15 again comes into play and carries the piece to its conclusion. The final 2 1/2 measures are a modified repetition of measures 25-28.

An inverted form of the "g" minor triad is presented in the initial measure in the top part of the "Slow Aire"

(II, pp. 2 7 3-275), establishing a thematic relationship between this movement and the two sections of the overture.

While the piece is basically homophonie, the lower three parts, on occasion, participate in the presentation of melodic material by means of imitation. This interplay occurs more often in the second section, (see measures 9-10, and 19-23) but also is employed in the first section (see measures 2-3, between the top part and the bass; measures 4-

5, between the top and tenor parts; and measures 6-7, between the top, count 1, and the second part, count 3).

The imitative activity of these lower parts contrasts 57 markedly to the purely accompanying.role given to these same parts in the "Hornpipe" that follows. There the melodic activity is confined almost entirely to the upper part.

The "Hornpipe" (II, pp. 275-276) is but twelve measures in length. It consists of three 4-measure phrases ending on the dominant, relative major, and tonic respec­ tively. The absence of any movement by the lower three parts on the second beats of most of those measures having the characteristic syncopated rhythm, i.e., measures 1, 5,

6, 7, 9, 10, creates a brief suspension in the otherwise steady rhythmic motion of the piece.

This suspension is not found in the other two horn­ pipes (see II, pp. 294, 310-3EI) although in all other respects their rhythmic styles are similar. Not an unim­ portant facet of i^is style is the dichotomy of motion between the faster moving upper parts and the slower moving lower parts. Other features shared in common are the minor mode and the absence of imitation. The "Hornpipe" of the

Unhappy Penitent (II, pp. 310-311) also follows the same harmonic outline as that above, viz., cadences on the domi­ nant (measure 8), relative major (measure 16), and tonic

(measure 24). Points of imitation between the top part and bass begin each phrase of "Aire no. 4" (II, pp. 276-277), but melodic interest after those points is largely confined to 58 the upper part. In measure 2 of this part the first two notes of measure 1 are reversed, thus avoiding the more common melodic device of exact repetition (at a softer dynamic level).

Another reversal in procedure occurs in the handling of the imitation in the "Brisk Aire no. 5" (II, pp. 277-279).

Beginning with measure 16 the imitative interplay is initia­ ted by the bass rather than the top part. The melodic sub­ ject used in this and the preceding interplay is reduced to its initial three-note motive in measure 13 and measures

20-23 in one of the few obvious instances of subject develop­ ment.

Closely related to this "Brisk Aire" but presented in the major rather than the minor mode is "Brisk Aire no. 7"

(II, pp. 281-282). Establishing this relationship are the first two measures of the piece and the initial four mea­ sures after the double bar. Both are nearly identical to the corresponding measures in the earlier "Aire." The formal structures are also the same because of similar harmonic progressions, i.e., they both begin in the tonic, progress to the dominant for the first ending, progress from there to the relative major or minor in measure 16, and then conclude on the tonic. Except for the changes in harmony dictated by the shift in mode and the dissimilarity of melodic lines after the initial measures of each section, the primary difference between the two pieces is the amount 59 of imitative interplay. In "Aire no. 5" it occurs consis­ tently, in "Aire no. 7" infrequently.

Although at a slow rather than brisk tempo, the material of the "Slow Aire no. 6" (II, pp. 279-280) is treated in virtually the same manner as that of "Aire no. 7".

Imitation is usually employed in the outer parts with only an occasional doubling at the third by an inner voice. The harmonic structure involves a progression from tonic to dominant (measure 8), to relative minor (measure 12), and back to tonic.

This is not the procedure of "Slow Aire no. 8" (IlT^ p. 283). Here the piece is strictly homophonie. It follows

a different harmonic pattern, tonic to dominant (measure 4) to tonic (measure 8); relative major (measure 9) to tonic

(measure 16) and moves smoothly and evenly rather than with

irregular dotted rhythms. One of the finest musical moments

in this entire set occurs in the final phrase of this piece.

It begins with the sequential passage in measures 13-14 and

concludes with the poignant dissonance on count 2 of

measure 15.

Set to the same formal structure and following the

same harmonic pattern, the final "Gavott" (II, p. 284) is

essentially a variation of "Slow Aire no. 8." While its

rhythm is noticeably more active and its texture is per­

meated with imitative interplay rather than being strictly

homophonie, the melodic design of the "Gavott" closely 60 resembles its model.

The use of the variation to relate these last two nuiribers was perhaps but the final step in the composer's endeavor to unify this set. In no other set is there such consistent use of a specific melodic formula (viz., the tonic triad) to begin the compositions, nor is there the obvious pairing of movements either by a parody technique as in Aires no. 5 and no. 7 or by variation as in the final two numbers.

Fortunately this unity does not suffer from a lack of imagination. None of the pieces is without interest, some are in fact quite engaging and delightful. All in all, they represent one of Daniel Purcell's more successful musical endeavors.

The Inconstant; or. The Way To Win Him

The only other "Gavott" (II, p. 296) (from The

Inconstant) is remarkably similar to the one in The Relapse, especially in view of the wide diversity of rhythms and melodies found in this dance. Particularly noticeable melodically is the use of the repeated note (cf. II, p. 296, measures 4-6 with II, p. 292, measures 1-2, 4-6, 9-10).

Rhythmically prominent in both is the use of quarter and eighth-note groupings. Structurally both are divided into two eight-measure sections. From the standpoint of texture, however, the "Gavott" in The Relapse is considerably more 61 imitative than that in The Inconstant.

An imitative technique not uncommon with Purcell is used in the first movement of the "Overture" (II, pp. 285-

28&) . A sequential passage involving imitation between the top part and bass is begun in measure 11, with the initial statement of the subject in the top part. The passage moves to a cadence on the tonic in measure 17, whereupon part of the passage (viz. measures 13-17) is repeated. Of note here is not necessarily the fact that the bass now initiates the imitation, but that the material is offset by half a measure from its original statement, i.e., what was originally on the first beat is now on the third beat. Such a technique adds a bit of spice to an otherwise mundane repetitional procedure. "Aire no. 2" (II, pp. 291-292) is a parody of a dance in the Island Princess (II, pp. 289-290), the latter probably composed by Jeremiah Clarke.^ In this parody the outer parts duplicate exactly their counterparts in the model for the first three measures although the inner parts are varied both melodically and rhythmically. From that juncture the two pieces go their respective ways.

Musically one might well question the rather abrupt

^Contrary to what the Preface to the publication seems to imply, Daniel Purcell probably composed only vocal music for this opera. Jeremiah Clarke not only composed the music for the "Musical Interlude" appended to the opera, but also composed ’ 5st if not all the instrumental music for the opera itself (see listing in Appendix C). 62 change in rhythmic motion in measures 12-13 (II, p. 291) and measures 20-21 (II, p. 292). With the almost continuous flow of eighth notes both preceding and following, the shift to an "echo" pattern of dotted eighth-sixteenth rhythms in those two places is disturbing. Yet, the appearance of such passages here is not unique, this same echo technique having been used as well in measures 12-13 of "Aire no. 4" (II, p. 277) in The Relapse, and in measures 6-11 in the "Sym­ phony" (II, p. 266) from the Indian Queen. That a marked change in rhythm does not accompany the occurrences in these instances, however, is a notable difference.

Two aspects of "Aire no. 6" (II, p. 295) should be mentioned, not necessarily because they are seldom used, but because they create musical interest. The first is the brief bit of chromatically descending bass across measure 2 into measure 3. This device is rarely used by Purcell.

The second is the melodic line of measures 13-14, later given to the bass in measures 16-17. The sequential pattern of octave skips set to the dotted eighth, sixteenth rhythm

creates a most pleasing musical moment.

Of no less interest is the frequent use of contrary motion in "Aire no. 8" (II, p. 297). In measure 2 of this

piece the top line runs contrary to both the third line and bass; in measures 5-7 the second line counters, in part,

each sixteenth-note passage by one or the other of the outer

lines; and in the penultimate measure, the bass and top 63 lines proceed in contrary motion.

The "March" (II, p. 293), one of the less frequently used dances in the suite, is generally relegated to certain rhythmic styles. The one presented here, consisting largely of eighth, two sixteenth-note, and four sixteenth-note groupings is not uncommon.

Once again the imitative procedure is worthy of note, primarily in the second section. In the last three measures of this section imitation occurs at the octave between the outer parts (one beat apart) with occasional doublings at the third by an inner part. Imitation at the fifth between these same two parts begins the second section, although here they are two beats apart. Measure 6 is of special interest. Here the outer parts have the same notes but in reverse order.

The melodic repetition in measure 6 seems ill- prepared, for after the emphasis on "e" in measure 5, a move to a different pitch level and a change in harmony is expected. With successive hearings and with dynamic con­

trast for the repetition, the static effect is at least partially ameliorated. And, with the sprightly tempo indi­

cated by the meter, the piece assumes a delightful bouncy

quality.

While there are only two minuets, both coming from

this particular play (Inconstant), they reveal the two

rhythmic styles most commonly used in this dance. The first 64 style is characterized by the use of the rhythm J J J J at the beginnings of phrases (see initial measures of both sections of "Minuet no. 3," II, pp. 292-293). The second has the more conventional trochaic pattern of half-note, quarter-note units. These are sometimes broken down into units of three quarter notes or various quarter-note, eighth-note combinations (see "Minuet no. 9," II, pp. 298- 299) .

Mention should perhaps be made of the occurrences of the iambic rhythm in "Minuet no. 9," viz., in the top two parts in measure 23, and in the bass part in measures 7, 18, and 19. In measure 23, the rhythm is used to strengthen the rhythmic drive to the final cadence. In all instances where the bass has the pattern, the upper three parts negate the iambic effect with their regular patterns. Thus none of the uses of the rhythm in "Minuet no. 9" creates the same effect as that in "Minuet no. 3."

'Minuet no. 9" has the usual instances of imitation between the top part and bass at the beginning of each section. It is otherwise homophonie, as is the whole of

"Minuet no. 3."

Unhappy Penitent Dissonances between "c" and "d" (measure 3, count 3) or "c" and "d^" (measure 6, count 1) and a cross-relation­ ship of "e" with "e^" (measure 8) vitalize the harmonic progression in the initial half (to measure 13) of the 65 first movement of this "Overture" (II, pp. 300-303). The

two dissonances are especially effective because of their

placement on stronger beats.

An extended sequential progression, repeated, makes

up the last half of the movement. Its length suggests an

overzealousness on the part of the composer.

Although imitative initially, the burden of the melodic presentation is placed on the top part in the second movement. Except for the initial entries by each of the parts, the complete subject is heard again only in the upper

line. There is, of course, subsequent interplay between this upper part and the lower parts, but in this interplay

(measures 15-16) the lower parts act as a unit rather than separately. A different rhythmic pattern is used to pro­ gress to other tonal centers, e.g., in measures 11-14 from "Eb" to "c," in measures 18-20 from "G" to "c," and in- measures 22-25 (repeated in the final phrase) from "G" to

"c."

Stylistically this second movement is most closely related to that of The Relapse (of. II, pp. 271-273). This relationship is due in part to the common use of duple meter

(the second movements of Cynthia and the Inconstant are both in a triple meter), but is even more pronounced because of the prominence of the eighth plus two sixteenth-note rhythm employed in their respective subjects.

Because of the similarity of the opening melody of 66

"Aire no. 2" (II, pp. 304-305) with the familiar "Trumpet

Voluntary" (now known to be a work of Jeremiah Clarke) one might be inclined to a slower tempo than this piece demands.

A brisk speed (J = c. 120) seems most appropriate, and is

in keeping with the dictates of the meter (C, ((:, ^ , and ÎL were the standard metrical designations for increasingly

faster tempi). Having criticized negatively the placement of a

repeated passage in the "March" from the Inconstant, it is

perhaps only fair to point out the timely inclusion of such ,

a passage in this piece. The passage, a measure in length,

begins as a pick-up to measure 17 and is immediately

repeated with slight harmonic changes. The effect is one of

giving greater emphasis to measure 19, which carries the

harmony to the dominant and starts the momentum toward the

final cadence, a momentum that is greatly enhanced by the

incessant rhythm and gradually ascending pitch of the melodic

line in this final phrase.

Stylistically "Aire no. 3" (II, pp. 305-306) is

similar to many of the preceding numbers. The outer parts

are set imitatively. The inner parts either double one of

these at the third or sixth or provide harmonic "filler."

Neither the"melody nor the harmony present anything of

particular interest. In this category may also be placed

the "Bore" (II, pp. 306-307).

In "Slow Aire no. 5" (II, pp. 307-308), however, the 67 melody is worthy of note because of the change in its rhythmic design in the second section. Having a smooth flowing movement in the first section resulting from a pre­ dominance of straight quarter and eighth-note rhythms, the melody assumes an irregular motion in the second section due to the extensive use of dotted rhythms.

To a not uncommon harmonic progression in measures

12-14 of "Aire no. 6" (II, pp. 309-310), viz., C, C^, F^,

C , a, B , e. have been added upper and lower neigh­ bors (measure 13, counts 1 and 2) that produce striking dissonances. Rubbing especially hard against the "g" of the C major triad on count 1 is an "f^." Forming an aug­ mented fourth with the "a" (in the bass) on count 2 is a

"d#."

The "Chaconne" (II, pp. 312-319), based on a repeated descending tetrachord, falls into nine-measure (4 plus 5) segments. Over this ground are presented different melodies set to various rhythms. The ground itself participates in

the variation procedure, although its basic melodic outline

is preserved.

Some of these variations are paired by means of a common rhythmic pattern, viz., IV and V, IX and X, and XI and XII. Others bear slight melodic or rhythmic resem­ blances to one another (e.g., VI and XIII), or are totally

different. The 9/6 proportion employed in variations IX and

X indicates a sesquialtera relationship to the eighth notes 68 of the preceding variation. In effect, the proportion pits a 9/8 rhythm against one in 3/4, unless the eighth notes

(see for example measures 84 and 88) are played as notes inégalés. It should also be remarked that this proportion is not particularly uncommon in music from this period.

By the end of the "Chaconne" all but the second part have presented individually one or more of the variations.

The second part is saved from a completely uninteresting role by doubling the first part at the third in variation

III, and on occasion either the bass or first part in later variations.

Although not particularly inventive, this "Chaconne" is not without interest. Cross relationships between "f" and "f#" (measure 39) and "g" and "g*" (measures 38, 47) provide color. By avoiding a strict rhythmic pattern and by giving the higher pitches a longer note value and placing them on count 2 of measures 2-3 in the melody of variation

IX, the composer almost completely negates the strong accentual qualities normally associated with a 9/8 rhythm.

The more common procedure is employed in variation X.

Judgment of Paris

This music, composed for a competition, uses somewhat greater musical resources than most of the other plays. To begin with, the first movement of the opening symphony is scored for two trumpets, two hoboys (doubling the first and second violins), and kettledrums in addition to the usual 69 complement of strings and continuo. The kettledrums are not used in the next two movements, presumably because of their more involved harmonic structures. They do return in the fourth movement along with the hoboys that are tacet in the second and third movements, and with the trumpets that are silent also during the third movement. In a later sym­ phony (for Paris), two flutes are added to the instrumenta­ tion. This greater number of instruments not only enabled the composer to present a wider variety of instrumental combinations, but also allowed more complex musical struc­ tures .

Belieing this latter aspect is the first movement of the opening "Symphony" (II, pp. 320-334). While it employs more than the usual number of instruments, it has a very simple statement-answer structure dominated wholly by a single affect. This cannot be said, however, of the second movement of the "Symphony," the "Canzona" (II, pp. 322-325).

In addition to its six-part texture, it employs many of the more learned devices of contrapuntal writing including stretto, inversion, retrograde, and augmentation of the subject matter. The result is one of the most intricate structures in all of Purcell’s theatre music.

The subject of the "Canzona," three measures in length, is presented first by violin I. Following this is a statement in the dominant by the second violin. Succeeding these two entries are the viola, bass, first trumpet, and 70 second trumpet respectively. It should be noted that these initial entries overlap one another in stretto. In measures

13-14 the subject is stated in inversion by the first trum­ pet, and in measures 14-16 a similar inverted statement by the second trumpet is combined with a simultaneous statement in original position by the bass. A retrograde version in augmentation by the bass (measures 16-19) is combined with a statement in original position by the viola (measures 16-17) and an inverted statement by the second violin (measures 17-

19). In measures 20-21 is another instance in which the inversion and the subject in original order are combined, but with two different instruments (trumpet I and viola).

Stretto is used once again in measures 21-25, although in this instance the entries are more closely grouped, apparently to push towards the cadence in measure 26.

Divided into two ornamented halves, the initial two measures of the subject, first in inversion and then in original order, are used for an episode in measures 26-32. Stripped of these ornamental notes, abbreviated mirror versions of

the subject between trumpet II and violin II (measures 32-

33) and trumpet I and violin I (measures 33-34) conclude

the piece.

From the discussion above it is evident that the

composer had at his command all the contrapuntal techniques

necessary to compose what for all intents and purposes is a

fugue. The skill with which he employed these techniques 71 produced a truly integrated piece of music.

Movement three (II, p. 326) is presumably for strings and continuo alone, since no other instruments are indicated.

The movement provides bold relief from the contrapuntal intricacies of the previous movement, but other than some rather unusual chord progressions (e.g., the augmented P chord, measure 3 count 4, to the G® chord, measure 4 count

1; or the A^, measure 7 count 2, to the e^ to b° chords on the following two counts) has a paucity of interest.

Harmonically the final movement (II, pp. 327-334) generates little interest. With the exception of a brief excursion to the dominant in measures 35-38, the progression is largely a continuous alternation of tonic and dominant chords.

Not so easily dismissed, however, is the final cadential passage, for in it is presented a different solu­ tion to the problem of slowing down rhythmic, melodic, and harmonic motion so that a piece will not seem to end abruptly.

The more normal procedure for accomplishing this task in this and much other Baroque music was to have the final IV or ii® - I^ - V - I cadence played ritardando. In this

instance, however, the final chord is repeated six times at gradually lower pitch levels and, to compensate for the rise up to the tonic in the final two measures, longer note values.

This same procedure is also employed in the final 72 cadence of the third movement of the "Sonata for Pallas"

(II, pp. 342-348), a movement almost identical in style to that just discussed. The similarity of these two endings to the repetitious V-I, V-I patterns so typical of final cadences of faster movements of the Classic period is impressive. Looking back historically, these passages may be considered a "progressive" feature of Purcell's writing.

In the "Symphonies" for Paris and Juno and the

"Sonata" for Pallas are presented the only fully instru­ mental pieces designated for specific characters. The designations are somewhat misleading, for in the case of the

"Symphony for Paris" the music functions to cover the sounds of machines lowering the three goddesses Juno, Pallas, and

Venus rather than to distinguish Paris. Stylistically the

"Symphony" for Paris (II, pp. 335-336) has much in common with the first movement of the opening "Symphony," both in its dotted eighth-sixteenth rhythm and its presentation by alternating groups of instruments.

The "Symphony for Juno" (II, pp. 337-338) also has a non-musical function, viz., to provide the setting for

Juno's descent from her machine to a propitious stage area from which she can address her plea for the golden prize.

As the wife of Jove, her bearing would have been stately, though not necessarily majestic, in this descent. The melodic emphasis placed in the bass line along with the slow harmonic rhythm dictated by the repetitious melodic 73

design of the three upper parts is perhaps as appropriate a

setting as any to give the weight and deliberateness called

for by her manner. From a purely musical standpoint, the method and amount of repetition in the upper three parts of

this composition is unparalled when compared with the use of

this device in other pieces considered in this study.

Why Pallas was given so much more attention musically

is not absolutely certain. It may have been because of her position as Queen of the Arts. Her plea for the golden prize, like that of Juno, was in vain.

In keeping with sonata form (at least as Daniel

Purcell evidently understood it), the "Sonata for Pallas" (II, pp. 339-348) is divided into three movements. The

first movement is characterized by eighth-note and sixteenth- note groupings in 4/4 meter of moderate tempo. The second movement proceeds in a slow, deliberate homophonie style in which quarter notes prevail. Eighth and sixteenth-note patterns are the rule in the faster and imitative third movement.

In the first movement neither the motto beginning nor the remainder of the melody has a strong sense of direction. Not helping the situation is the repetition of measures 10-13 for the final phrase. The net result is a melodic style that may be described as "wanderingJ*

In the second movement, the return to the tonic (now c minor rather than C major) in measure 5, the skip of a 74 fourth in the top part and of an octave in the bass across the bar line to measure 6, and the introduction of a new

(dotted eighth, sixteenth) rhythm in measure 6, combine to divide this movement into two, five-measure sections. The only unexpected harmonic turn comes on count 1 of measure 8.

Here a g |, on count 4 of measure 7, progresses to C on count

2 of measure 8 with a suspension in the top part and an accented upper neighbor in the second part on count 1. The effect is not disrupting, but does contrast with the more common progressions found in the remainder of the piece.

In analyzing the imitative procedures employed in the final movement, nothing new is discovered. The initial entries alternate between tonic and dominant. The melodic design of the subject is similar to those of other final movements. Internal cadences are reached on the dominant

(measure 35) and the dominant of the dominant (measure 65).

And, there is little manipulation or variation in repeti­ tions of subject material. As noted earlier, the final cadence is an extension of the tonic triad.

Of interest in the "Symphony of All" (II, pp. 349-350) is measure 16. Having reached a cadence on the dominant in measure 8, the melody and harmony of the succeeding measures leads purposefully toward an expected tonic cadence at measure 16. Almost effortlessly, however, the progression moves to a iv® with a suspension in the top part. Intruding upon the scene in count 3, however, is a cross-relationship 75

(F*), the effect of which, along with the suspension and the hemiola rhythm in measures 17-18, successfully delays the achievement of the tonic cadence until measure 19.

A totally different effect results from the same passage in measure 20. Here, because of poor rhythmic placement and lack of preparation, only an unexpected embellishment is produced. By its instrumentation, its melodic and rhythmic style, the "Symphony" for two trumpets and kettledrums

(II, p. 351) is obviously martial music. This fact is con­ firmed by its placement in the work, viz., immediately before it (Pallas) sings;

Hark, harkl the glorious Voice of War Calls aloud, for Arms prepare: Drums are beating. Rocks repeating. Martial Music charms the joyful air.

Little need be said of the final "Symphony" (II, pp. 352-361), not because it lacks interest, but because its instrumentation, its melodic and rhythmic design, its texture, and its form are so similar to the "Sonata for

Pallas" that much of what could be said would be redundant.

Suffice it then to point out the sequential passage using imitation and ending with a cross-relation (g-g"^) in measures 7-9 of the second movement (II, p. 355), the change in directions of the subject for the second section

(measures 19-27, in the dominant) of the third movement

(II, pp. 358-359), and the continuo solo in the three- 76 measure extension of the final cadence (II, p. 361).

The Grove ; or, Lovefs Paradice^ A rigorously kept concertato style characterizes the opening "Symphony" (II, pp. 362-364) of The Grove. In it the musical material is divided evenly between the strings and woodwinds (bassoon and two oboes) and is presented in two-measure segments with the single exception of measures

13-14 where each group has only one measure. Other than the final four measures, the design of the alternation is antecedent and consequent rather than simple repetition.

This concertato style is also employed in the "Sym­ phony for Flutes and Hautbois" (II, pp. 365-368) and another number entitled merely "For Hautbois and Flutes" (II, pp. 377-

379). In both of these compositions, however, the alterna­ tion procedure is different in that the number of measures allotted to the "statement" and "answer" are often not the same. This produces an irregular rather than regular suc­ cession between the two groups of instruments.

Although the "Trumpet Sonata" (II, pp. 369-376) is in the usual three-movement form, its features still warrant some comment. If played as written, the half note in the melody in the third measure of the first movement causes an unduly long hesitsrion in the momentum built up by the

^The outer parts for an orchestral suite exist in Royal College of Music MS 1144, ff. 34v, 44v. 77 preceding sixteenth notes. Almost certainly some ornamenta­ tion was applied here to alleviate the problem.

Further on in measures 12-14 of this movement there seems to be another passage best described as "much ado about nothing." A closer look# however, reveals that the passage beginning on the last half of count 2 in measure 13 and continuing for a full measure is an exact repetition of the previous measure, and thus should be played at a softer dynamic level. With this contrast, the.repetition has some meaning.

As in the other slow movements, unresolved dissonances

(measure 1, count 4) and suspensions (measures 2-4, 6-8) are used to create harmonic interest. Not commonly found, how­ ever, is the divisi in the tenor part on the final cadence.

It perhaps should be noted that the third of the chord is not supplied in nearly half of the final cadences. Whether it was added by the keyboard instrument in these instances is not certain.

Without doubt, the subject of this particular third movement is the most distinctive of the group. Its dotted eighth, sixteenth rhythmic pattern (on the second pulse) sets it apart from the other rhythms in this piece and dis­ tinguishes it from the more regular or even flowing rhythmic patterns of other third movement subjects.

The bass is the primary melodic vehicle in the modulatory sequential passages, e.g., measures 13-17, 25-29, 78 and 31-36. Internal cadences are reached on the dominant

(measure 19), the supertonic (measure 31), and the tonic

(measure 37). This latter cadence is not particularly strong, however. As a result, an extended passage over a tonic pedalpoint is supplied to firmly establish the key.

This passage (measures 37-44) is not unlike the extended tonic cadences concluding other similar movements in the

Judgment of Paris (see above)., or those at the end of the first and third movements of "Sonata II."

The first movement of "Sonata II" (II, pp.380-388), also has the extended tonic cadence. Its repeated use to announce the appearance of Fame is unique.

The melodic and rhythmic relationships between this and the first movement of the "Trumpet Sonata" go beyond the general similarities one would expect. The final eight measure segments of both movements use a more ener­ getic rhythm. The direction and interval of many of the melodic skips in these passages are also the same. And, corresponding measures are repeated (measures 12-13 in the

"Trumpet Sonata," and measure 13 in "Sonata II"). Elimination of the trumpet part and harmonic richness are attributes shared in common by the two second movements of these sonatas. Their tonal patterns, however, are different. The second movement of the "Trumpet Sonata" begins and ends in the relative minor. The second movement of "Sonata II" progresses from the relative minor to the 79 major key.

In the treatment of its subject, the third movement of "Sonata II" has more in common with the third movement of the final 'Symphony" from the Judgment of Paris (II, pp. 356-361), than with the third movement of the "Trumpet

Sonata." As in the "Symphony" the subject is inverted at the first repetition (measure 38). It continues in the inversion for a few measures, and then returns to the ori­ ginal form (measure 51).

Another cadential passage of interest is that in measures 5-6 of the next "Symphony" (II, p. 389). In order to make this progression to the dominant stronger, a raised third for the supertonic | on count 3 of measure 5 would seem the more likely choice. If this were done, however, the tension created up to and including the first two beats of measure 5 would be totally dissolved in the "major" sound of this supertonic chord, and the push towards the dominant would dissipate before the chord was reached.

Of the two remaining symphonies little need be said, for their style has nothing new or different to offer. The

"Ritornel" is worthy of note because it is a four part version of the song preceding it (the second part of "Under­ neath a gloomy shade," II, pp. 408-409) the only instrumental piece so derived. 80

Conclusion

Some conclusions regarding Purcell's instrumental music for the theatre should be drawn at this point. Based on the evidence presented in certain of the compositions, the standard instrumentation for the bulk of this music was undoubtedly strings and continuo— so standard, in fact, that it was deemed unnecessary to indicate the instruments in the score. It is entirely possible that at least some of these parts were doubled by appropriate woodwinds. But caution should be exercised before stating that such a practice was common, considering the dire financial situa­ tion prevalent so much of the time, and the apparently meagre amount of music incorporated into many of the plays.

For the more elaborate productions such as The Grove, a larger instrumentation was necessary if only for the sake of variety. To this end flutes, oboes, and trumpets were most often the additional instruments.

In the homophonie compositions, imitation is to be expected between the outer voices in the initial measures and occasionally in subsequent passages. These outer voices are not only the more active melodically, but often are also the more active rhythmically. Of the four basic parts, that of the viola is usually the most sedate.

Harmonic interest in these compositions is determined largely by category and tempo. If the composition is an independent single-movement work, the harmony is not usually 81 bold— the degree of boldness being inversely related to the speed of the movement. In a slow middle movement of a sonata or symphony, the harmonic progression is often quite daring, involving upper and lower neighboring tones, sus­ pensions, and cross-relations. Pieces in binary form, normally employ sequence immediately after the double bar.

The harmonic language of imitative movements (speci­ fically the second movements of overtures and the third movements of sonatas and symphonies) is less adventuresome.

In fact, a basic tonal pattern emerges from the primary cadential points: Unhappy Penitent (c minor)— i to III

(m. 11), to V (m. 18), to i; Cynthia and Indimion (c minor)

— i to III (m. 11), to V (m. 23), to i; Relapse (g minor)— i to III (m. 12), to V (m. 16), to VII (m. 21), to i; Grove'^

(d minor)— i to III (m. 26), to i; Faithful Bride of

Granada^ (a minor)— i to v (m. 7), to iv (m. 12), to III

(m. 17), to i. As can be seen, internal cadences on III and some form of V occur in all but one instance (Relapse). In two of the plays. Unhappy Penitent and Cynthia and Indimion, these cadences are reached in approximately the same measures

Even less variety is found in imitative movements set in a major mode. Considered here were movements from

^Overture is from Royal College of Music MS 1144, ff. 34v, 44v. ®From Royal College of Music xxix A. 29; the top part is wanting. 82 the "Trumpet Sonata" and "Sonata II" in the Grove; the

"Canzona," and the last movements of the opening "Symphony,"

"Symphony for Pallas," and final "Symphony" in the Judgment of Paris y and the music in the Inconstant. The pattern is

I, V, I, in all but three instances ("Sonata II" stays on the tonic; the "Symphony for Pallas" and "Trumpet Sonata" have I, V, ii, I patterns). Thus in both major and minor movements the cadences reveal a limited tonal pattern, a pattern that results at least in part from a contrapuntal sense of harmony. The cadences mentioned above follow two basic pat­ terns differentiated largely by the movement of the outer parts. The most common has a descending soprano line and a ii&, V, I harmonic progression:

- j . . j - Æ f ------JÎ -- final cadence Aire no. 2 Inconstant

■ l i \ i à

...... ^

' ■ " O / It r

The other, used extensively for cadences on the dominant in minor keys and commonly referred to as a Phrygian cadence, employs contrary motion in the outer voices expanding to the cadence chord through a iv, or iv° to V progression: 83

ZEi # / ' fi' ' ^ o i ---o "Gavott" Inconstant, M 1 1 1st ending _ r\* ----r s —

A third type of cadence should also be mentioned, viz., the "extended tonic cadence." Used only at the con­ clusion of faster movements of sonatas, this cadence pre­ sents a wholly different approach to the problem of conclu­ ding pieces in brighter tempi. As such, it is a harbinger of a practice that becomes standard in the early classic period. (See an example of this type of cadence at the con­ clusion of "Sonata for Pallas," II, p. 348.) In addition to the harmonic language and cadences, a rather standard imitative procedure is also found in these movements. The melodic subject is stated by each of the parts following a tonic-dominant, tonic-dominant pattern.

These initial statements may occur separately (as in the

Unhappy Penitent and Inconstant), they may occur in close form (as in The Relapse where the entries are paired), or they may occur in a combination of these methods (as in

Cynthia and Indimion where the first two parts enter in close imitation and the subsequent two entries are separate). 84

From this point the handling of the subject varies. In most, e.g.. The Inconstant, Unhappy Penitent, and Cynthia and Indimion, the subjects continue to be used almost con­ tinuously. In others, e.g.. The Relapse, the subject appears only occasionally with a substantial amount of different material interspersed between these appearances. Modifica­ tion of the subjects is normally confined to inversion and to intervallic changes necessitated by the harmonic pro­ gression. In the Unhappy Penitent the second half of the subject is used extensiyely. But for the most part, the subjects remain intact and unaltered throughout a moyement.

The more learned devices of diminution, augmentation, and retrograde are used only in the "Canzona."

Thematic relationships among various pieces for the same play are usually tenuous if not altogether absent.

Exceptional in this regard are the compositions for Relapse, which are bound together by a common melodic motive and thematic similarities.

The unifying force of key is more common. This point holds even when the limited number of keys used by the

Baroque musician is considered. In no piece of instrumen­ tal music presented here does Purcell go beyond two acciden­ tals in the key signature. For those compositions in "c" minor, e.g. the overture to Cynthia and Indimion, the "a" flat is added as an accidental. (Even contemporary trea­ tises and instruction books for the various instruments 85

rarely go beyond four accidentals as a practical matter.)

Thus within any one production, the keys are usually limited

to the dominant, dominant minor, and relative or tonic

minor of the opening key. If keys outside these limits are

used (as in the Grove and Judgment), the choice is dictated

as much by the limitation of accidentals as by the musical

circle relationship. The popularity of the key of "D"

should not be overlooked. With the exception of certain compositions in the

Judgment and Grove, little connection can be found between

the instrumental music and the dramatic situation it pre­

pares or supports. This is not to say that the music was

inappropriate (there are, of course, displays of the more

obvious in the text such as the "warlike" piece; or in the

Grove, the first "Trumpet Sonata" which is preceded by the

text "... the Trumpet drives away their care and makes

'em languish."; or "Cease your Am'rous Pipes and Flutes" which serves between the "Symphony of Oboes and Flutes" and

the "Trumpet Sonata," telling the former to stop and the

latter to begin and thereby carrying the action forward),, but rather that precise affects for stock situations and

characters are not apparent. It should be pointed out once

again, however, that the bulk of this instrumental music was

played before or between acts, both usually non-dramatic

situations; and that one of its primary purposes was that of

divertissment. Still further, such factors as the insertion 8 6 of a birthday ode into a production or the use of music by two or more composers can hardly be evidence of a close musico-dramatic relationship. A somewhat different picture is presented by the vocal music.

Vocal Music

Introduction

The music chosen as representative of Daniel Pur­ cell's vocal writing is from the opera, The Grove; or.

Love's Paradice. The opera is presented in the standard five-act form. Although the development of the plot is almost entirely in the spoken dialogue, the vocal music plays a decisive role in heightening certain dramatic situations.

From the forty-five different vocal compositions

included in this opera a well-grounded assessment of Pur­ cell's compositional techniques for voices can be made.

The kinds of vocal compositions included in this opera are

the same as those used in other operas, in masques, comedies,

and tragedies. Thus, while the specific use of a composi­

tion here may not be exactly the same or the amount of music

different, the compositions are nevertheless typical. Still

further, by presenting all the vocal compositions from one

production rather than selecting individual pieces from many,

it is believed a more sound judgment can be made of the

interaction of the spoken dialogue and music, of the 87 organization of the various kinds of compositions to achieve dramatic effect, and therefore of the larger role of his music for the theatre. Other factors determining this choice are the following:

1. at least one example of each kind of vocal composition Purcell composed for the theatre is present.

2. the amount of vocal music is sufficient to reveal the variety of compositional techniques employed.

3. all of the music for the opera is available.

4. all of the music for the opera was composed by Purcell.

5. most of the stock situations and many of the dramatic purposes for which music was used in the theatre are found.

6. the opera was performed as a part of the regular theatrical offering. With but few exceptions, the vocal music in this opera appears in large segments rather than being inter­ spersed throughout the dialogue. It is concentrated at the end of Acts I, II, and V, at the beginning of Act III, and shortly after the beginning of Act IV. In each instance the pieces have a particular function: Act I, to alleviate the "distemper'd" mind of Aurelia; Act II, ostensibly a duel between human music (war) and music of the mythical deities (love), in fact a stock musical interpolation for the entertainment for the audience; Act III, a rather lengthy episode involving mythical deities of the court of

Pan, these representing in greater or lesser degree the main 88 characters of the opera and their present- state in the development of the plot— in a sense, a musical recapitula­ tion of the dramatic situation; Act IV, to seduce Nicias, the guard, into granting permission for Phylante to see the enchained Adrastus; Act V, a celebration of the triumph of

Love, involving the wedding of Adrastus and Phylante.

The dramatic plot unfolds thusly; Act I. Aurelia, daughter of the Emperor of Greece, has fled with her lover

Amintor, the Prince of Thrace (disguised as Eudosius) to an enchanted isle on the coast of Italy in order to avoid marriage to her stepmother's brother. On the one hand, both Aurelia and Eudosius are pleased with their decision and their state of being. On the other, both suffer pangs of conscience, she for disobeying her father, he, of the nobility, for succumbing to the forces of Love. The

Emperor, completely unaware of his daughter's presence there, decides to visit the isle, thereby setting off the chain of events that follows.

Act II. Aurelia and Eudosius make plans for the

impending arrival of the Emperor. Adrastus, brother to

Eudosius and the agent by which he and Aurelia managed to

flee, comes as an envoy of the Emperor. He greets Eudosius,

and sees for the first time in years his beloved Phylante,

friend and confidant of Aurelia. Because of their friend­

ship, Phylante felt it necessary to flee with Aurelia so that she would not be alone in a strange land. 89 Act III. Overwhelmed by the beauty and riches of the isle, the Emperor becomes uneasy. From whence come these riches? Why is Adrastus so friendly with Eudosius

(whom the Emperor has not yet discovered)? He suspects conspiracy and possibly treason. Parmenio, the favorite of the Emperor, sees advantage for himself in the situation and feeds the anxiety of the Emperor. (Jealousy and envy are

Parmenio's faults. He loves Phylante, who has shunned him in favor of Adrastus.) Adrastus is enchained and removed to seclusion. Eudosius hears of this act and immediately concludes that the Emperor's coming to view the isle was merely a ruse to seek out him and Aurelia.

Act IV. Eudosius is torn between love and honor.

He must free his brother, but Aurelia reminds him they are in a grove where love, not war, is supreme. He is informed that Parmenio has deployed soldiers at strategic places to prevent Adrastus from being freed. Parmenio, upon seeing a woman allowed to visit Adrastus, momentarily fears his scheme to kill Adrastus and the Emperor has been discovered.

Act V. Permenio's scheme is discovered by both

Eudosius and Nicias. Nicias, initially taken into confi­ dence by Parmenio, remains a true subject to the Emperor, however, and thereby prevents the Emperor's drinking a potion. Aurelia is discovered to the Emperor; they both swoon. Adrastus is freed. Eudosius arrives on the scene just in time to save Phylante from being ravaged by 90

Parmenio. Parmenio is seized and condemned to a slow death.

Adrastus is awarded the hand of Phylante in marriage and the crown of Thrace. Eudosius and Aurelia are allowed to remain in their paradise of love.

Eleven different types of vocal compositions are included in the opera: dialogue, recitative, arioso, duet, trio, grand chorus, air with chorus, air with trio accompani­ ment, air with single obbligato instrument, composite airs, and continuo airs. Fourteen individual compositions in this last category are found.

With but two exceptions, the continuo airs are rather simple pieces in binary form. Motto beginnings, often times repeated, as well as repetitions of the final phrase are not uncommon. Within this general framework, however, a variety of styles as numerous as the songs themselves is found. Of necessity most of this variety is due to textual considerations.

Continuo Airs

Phylante, friend and confidant of Aurelia, sings? the first air "In vain you tell me" (II, pp. 393-394), purport­ edly to ". . . lay the rising tempest of Aurelia's soul"

(I, p. 6 , line 8). To depict the gnawing guilt of

Aurelia's disobedience, dotted rhythms are used. Quite in

^According to source #36 (see Appendix C), the actual singer was Mrs. Erwin, a professional employed to come on stage and perform in this kind of situation. 91 contrast to this general rhythmic affect is the smooth undulation on "sweet" (measure 8), all the more so because of the syncopated setting of "love" that immediately pre­

cedes it. Even more conspicuous is measure 14, where, because of the natural rhythm of "nothing," dotted rhythms

are discarded in favor of straight eighth notes. It is the

only measure of the piece where a single note value prevails.

"Restless" (measures 16-19) is made increasingly restive by

the shift to the more insistent dotted eighth, sixteenth pattern in measure 18, and by the downward melodic turn on

the second note of measure 17, a turn that disrupts the

expected melodic sequence. "Boast" (measure 9) seems in­

sufficiently portrayed in its setting, a more assertive

rhythm such as that found in measure 21 would appear to be more appropriate.

The cross-relationship between "B " and "B^" in

measure 7 results more from harmonic demands than from

textual considerations. What appears to be a simultaneous

occurrence of the ascending and descending forms of the

melodic minor is occasioned by an attempt to achieve the

strongest possible progression to the dominant-six chord on

count 2, and from there to the tonic on count 1 of the

following measure. In addition to its tonal pattern, this

piece is formally organized by the repetition of the melodic

unit of measure 1 in measures 5, 28-30, and, in modified

versions, measures 18 and 21. 92

"Leave your Mountain" (II, pp. 395-396), one of the pieces sung by the "rural Quire" as a further attempt to

"cure" the "griefs" and "restore" the "distemper'd" mind of

Aurelia, consists almost wholly of straight eighth-notes set in regular four-measure phrases. Interest is provided by the diverse tonal plan. It proceeds from the dominant in the second ending to the mediant in major form in measure

12, the sub-mediant in measure 16, the sub-dominant in measure 20, and then to the tonic.

Further interest is provided by the use of different contrapuntal techniques. Whereas the continuo and vocal line move in parallel motion for the initial two measures of the first two phrases, imitation or contrary motion are used in these measures in the remaining phrases.

The organizational features of "Happy Mansions" (II, pp. 397-399), one of the two airs not set in a binary form, are of special interest. The instrumental introduction recurs as a ritornello three times during the piece, separating the three basic sections and, at the same time, providing a thread of unity. Strengthening this formal device is the melody for "Welcome" (measures 47-48, 51-52), a melody that hearkens back to the setting of the opening word of the song. Not to be overlooked is the use of this same descending fourth, now filled in, for the initial words 93

of the middle section as well (see measures 28-32).® Thus,

this particular interval is utilized in some manner in the

setting of each of the three couplets of song.

The last two continuo airs in Act I, "The Flocks"

(II, pp. 400-402) and "To Her" (II, p. 403), are both cast

in binary form, "The Flocks" having as well a repeated motto

beginning and final phrase. While "To Her" has no unusual

traits, its light, gay, frivolous character make it a most

charming piece.

"Tis Love" (II, pp. 404-405), from the musical duel

that concludes Act II, is one of the two airs in this group

that is preceded by a recitative. The arpeggiated melody beginning the recitative and air establishes a thematic tie between the two sections. This air, like the preceding, has no distinctive structural features. The recitative, however, has two points of interest, viz., the juxtaposition

of triple and duple rhythms (measures 1 and 8) and the form.

In regard to the latter, it should be noted that the

recitative consists of two parts (measures 1-7 and 8-13),

the second one measure shorter than the first. While this

difference would seem of no great moment, compensation is

made for it in the melodic design. Both parts begin with

the distinctive rhythm mentioned above, have a rising

^Offsetting the repetitions of "Gentle Shepherds" by half a measure, a technique encountered in the instrumental music, provides a slight measure of harmonic variation as well as the dynamic contrast normally afforded by such a passage. 94 melisma in the second measure, and a descending melisma in the penultimate measure. By extending the final melisma in the second part to one and one-half measures, the com­ poser nullifys the imbalance caused by the extra measure in the first part.

Imitation plays a vital role in the texture of "See the Trembling Sheep revive" (II, pp. 406-407). Particularly noteworthy is its application to the sequential pattern beginning in measure 11. The continuo subsequently picks up the pattern (measure 13), continues with it until measure

15, discards it for a measure, and then uses it again to extend the phrase two measures past the closing note of the vocal part. It thereby continues the "trembling" while the vocal line is "reviving."

A trill undoubtedly is performed on the dotted quarter (measures 11-14) to enhance the trembling effect.

Dynamic contrast, although not indicated, is certainly dictated by the repetition in measures 50 and 58, and per­ haps in measure 43.

"Twice she turn'd," "By Eccho," "Love descends," and "The Force of youth" form the first part of the enter­ tainment of Act IV prepared by Phylante to seduce Nicias into allowing her to see the enchained Adrastus. "Twice she turn'd" (II, pp. 408-409) has the unique distinction of being transformed into a four-part instrumental "Ritornell."

It is also the second continuo air preceded by a recitative. 95

In keeping with the doctrine of affections, dotted rhythms are used to depict the pathos of the Shepherdess' impassioned plea set forth in this recitative. A touch of poignancy is added by the diminished fifth in measure 6.

"Eccho" (measures 10-11), in true fashion, repeats the pre­ vious two measures (measures 8-9) at a softer level, but inserts a brief caesura to set off the word "behind."

After the uneventful "By Eccho" (II, p. 410), Cupid sings "Love descends" (II, p. 411). The running bass and rather lively melodic line generate a considerable amount of activity in this air by Cupid, perhaps to depict the action taken by Love in response to the Shepherdess' plea.

Conspicuous instances of word painting complement this activity, e.g., the falling line for "descend" (measures

3 and 5); the rising line leading to "skies" (measures 19-

21); and in this same passage, the pungency of first natural and then sharp and then natural, this last creating harmoni­ cally a diminished fifth for "grief" (measure 20, count 3).

Although no less intense, the passion expressed in

"The force of youth" (II, p. 412) is achieved in a more restrained manner. Gone is the active vocal line and the running bass. In their place, sequential repetition pro­ vides the needed emphasis. To stress the power of "force," a rising sequential pattern in the relative major is used

(measures 6-13). Pan subsequently "yields" by means of a descending pattern in the minor (measures 18-25). Formed 96 in the process is an almost symmetrical melodic arch, and an air with an effective (although somewhat obvious) con­ trast of emotion.

A slightly later part of this same entertainment is

"Happy ever" (II, p. 413). Based on the number of times it was reprinted, "Happy ever" would have to be considered one of Purcell's most popular songs. Indeed it is a very delightful piece, set forth in an A B A C A form. Contribu­ ting to its freshness are the five-measure phrases, broken down into regularly alternating two- and three-measure seg­ ments. This, along with the sprightly tempo and occasional bits of eighth-note imitation, creates an air of alluring vitality.

Of the last two airs, "Love has blest you" (II, pp. 414-415) and "The Hero" (II, p. 416), both from Act V, only the former warrants any special comment. With the exception of the opening phrases, the melodic design of

"Love has blest you" is based on a three-note motive con­ sisting of the repetition of the initial note followed by a skip downward of a third. Most often the motive is decorated by an upper neighbor inserted between the repeated notes. It is in this form that the motive makes its first appearance (measures 9-10), and is firmly estab­ lished by two immediate repetitions (in measures 10 to 11, and 11 to 12). The pattern minus its last note occurs four times in the sequential progression beginning with "Maid 97 you" in measure 13 and continuing through measure 15. After this juncture, the motive once again is varied, this time by changing the note value of the upper neighbor from a sixteenth to an eighth and by adding a passing tone to fill in the third. As such, it serves as the vehicle for the melisma on "joyn'd" (measures 18-21, 24-27, and 30-33).

Accompanied Airs

Other than the obvious factor of timbre, the basic stylistic difference between the accompanied and the con­ tinuo airs is the frequency and length of interludes. Dis­ counting repetitions of motto beginnings, only one of the continuo airs, "Happy Mansions," uses interludes. Conversely, only one of the accompanied airs, "One of the Gods," does not contain interludes.

From a procedural point, the instruments are incor­ porated into the texture in four different ways. They may play consistently with the voice as a duet, they may repeat the vocal line quasi concerto, they may imitate the voice, or they may use a combination of these three techniques.

Of the four airs with single obbligato instrument, three are set with trumpet. As part of the musical duel of

Act II, "Cease your am'rous Pipes" (II, pp. 417-419) fea­ tures the trumpet to demonstrate its superiority over the hautboys and flutes displayed in the preceding "Symphony for Flutes and Hautbois" (II, pp. 365-368). Further rein­ forcement of its position in the dispute is provided by the 98 full-blown "Trlimpet Sonata" (II, pp. 369-376) played at the conclusion of the air.

Structurally "Cease your am'rous Pipes" has two sections, each repeated iji toto by the trumpet. While the

first section ends on the tonic (measure 17), the second section begins immediately in the dominant, has this solidi­

fied by a strong cadence in measures 22-23, progresses to the mediant in measure 26, and then returns to the tonic in

the final two cadences.

Of dynamic interest is the inclusion of "soft" and

"loud" markings for measures 14 and 16. Although not indi­

cated, this same contrast should be made in the correspond­ ing measures of the vocal line (measures 6 and 8).

Reasons for the popularity of this air are not

immediately apparent, for there is nothing unusual or particularly striking in its contents. Yet with repeated

playings, there emerges a natural simplicity, an aptness of

textual setting that is indeed satisfying.

"Thro wondring worlds" and "Away these Fairy charms,"

both military or heroic airs, make their musical pronounce­

ments in "D" major. Extended sixteenth-note melismas and

arpeggiated figures abound. In "Thro wondring worlds" (II,

pp. 420-423), the arpeggiation appears in the continuo as a

ground. Because of this ground bass, the tonal pattern is

not as adventuresome as in most of the other airs. Even

when the basic pattern is modified for what is usually a 99 rather free middle section (measures 29-50), the progres­ sions center mostly on dominant, sub-dominant, and tonic harmonies.

Aside from the melismas, the vocal line in "Away these Fairy charms" (II, pp. 424-426) is restricted almost totally to arpeggiated patterns, patterns easily imitated by the trumpet. The procedure of trumpet imitating the vocal line is maintained throughout the piece.

Points of rhythmic interest are found in both airs, the triplet in measures 7 and 15 of "Thro wondring worlds," the setting of "sing" (measures 17-19) in "Away . . . ."

Although mathematically correct, the syncopated arrangement of the notes for "sing" is a curious one indeed, especially for a word normally rendered in a more regular manner.

Complicating the matter even further is a rather sprightly tempo. In view of these factors, a different interpreta­ tion of the rhythm may well be in order. One possibility would be to perform the pattern as a triplet, viz., in modern notation J J J J . With such an arrange­ ment, a much more fluent delivery (and perhaps a more accu­ rate one) would be assured.

Although short and simple, the other air of this type, "One of the Gods" (II, p. 427), is not entirely devoid of interest. Most nearly approximating the duet texture, it nevertheless has two measures of imitation between the voice and hautboy immediately following the second ending. 100

The melodic pattern of the imitation, a sequentially ascending fourth, is then rendered simultaneously by voice and instrument to push to the cadence in measure 8. From this point a descending sequential pattern utilizing the

interval of a fifth carries to the final cadence. Adding

rhythmic variety to this final phrase is the iambic pattern of "summon" (measures 9-12, 14).

Trio Airs

In certain respects, a more rigid compositional pro­ cedure is followed in the airs with trio accompaniment

than in any other type. All of the airs repeat their motto beginning and final phrase. With the exception of the

first air, concerto technique rather than imitation best describes the disposition of the instruments in relation to the voice.

"Amintors watchfull Care" and "When Venus" follow

one another in the entertainment for Aurelia in Act I.

Quite in contrast to the other airs of this group, the

style of "Amintors ..." (II, pp. 428-433) is largely

imitative. This imitation may involve all three instrumen­

tal parts successively (measures 1-2), only the two flutes

as a duo in opposition to the voice and continuo (measures

10-13, 32-41), the voice and the flutes individually over

a static continuo (measures 13-15), or just the flutes them­

selves (measures 19-23). Most often the imitation is

inaugurated by the flutes, although in measures 15-17 the 101 voice begins with an ornamented version of a pattern that

is imitated in its simpler form by the flutes.

Variation by addition, repetition, and inversion alter considerably the vocal half of the motto beginning of "When Venus" (II, pp. 434-443). The two halves are given below to show these alterations: I

Separating this initial vocal phrase from its repeti­ tion (measures 12-18) is an instrumental interlude based on the first four measures of the phrase (measures 3-6).

Measures 6-9 serve as the basis for the next interlude

(measures 18-21). The third interlude (measures 25-29) is derived also from this opening phrase, extending the rhythmic figure of measure 7 a full measure and then pro­ ceeding to a cadence. It is during this latter passage

(measures 22-29) that a modulation to the dominant is accomplished.

The dominant is not retained as the tonal center for the ensuing section, however, for with the third count of measure 29, the "c^" is now natural and the tonality is 102 immediately that of the relative major. This tonality continues through the subsequent interlude (based on measures 35-40) to measure 46. Adding interest to this interlude is a brief bit of imitation in measures 40-41 and 44. The remaining section (measures 46-60) starts out as if a repetition of measures 31-40 were to follow, but melodic adjustments are made in the melisma for "trans­ porting" to allow a return to the tonic.

Tonally then, this air is divided into four sections: the first (measures 1-21), in the tonic; the second (mea­ sures 21-29), progressing to the dominant; the third

(measures 29-46), in the relative major; and the last

(measures 46-60), in the tonic. Obvious instances of word painting are found with "charms," "woo'd," "transporting,"

and "joy." More subtle is the chromatic coloring of

"cruel" (measure 30).

In "Ye Men and Maids" (II, pp. 444-446) the sequen­

tial dialogue between the continuo and voice in measures

24-27 (repeated in measures 31-34) is one of the more

finely wrought examples of imitative interplay in the opera. Missing in this passage is that instance of melodic or

rhythmic awkwardness, that curious turn so often encountered

in other imitative passages. The more normal procedure is

found in a passage based on the same melodic figure, but

incorporating on count 2 of measure 38 an unexpected cross­

relationship between "f^" in violin II and "f^ " in the 103 continuo.

Another harmonie twist, though less conspicuous, occurs in measure 6. In place of the iv, V, i progression of measure 3 is a more poignant (because of the non­ harmonic tone on count 1) V, i pattern. In the repetition of this vocal phrase (measures 10-12), this pattern is replaced by the progression of the instrumental model.

In the air "Cease your heavenly Notes" (II, pp. 448-

451), instruments and voice emulate one another as the melodic material is passed back and forth. The voice varies the motto beginning. The instruments, in measures

18-21, extract segments of the vocal melisma in measures

15-17 (the upper instrument taking from measure 16 the

"and" of count 1 to the first note of count 3; the lower

lifting from measure 15 the "and" of count 3 to the first

note of count 1 measure 16) to produce an interesting bit

of dialogue. Further on, in measures 42-53, the instru­ ments divide the melody of "has told you this" (measures

39-41), the upper instrument taking the notes corresponding

to "has told," the lower responding with the "you this"

portion. The segments of melody are augmented and extended by each instrument. Pathos and rage, two extreme affects juxtaposed in

one short recitative, provide the basis for a most vivid

musical display in the recitative "In vain" preceding

"Cease . . ." (II, p. 447). Dotted rhythms, erratic motion. 104

eloquent melismas, picturesque word painting— all are

exploited to create an intense emotional fervor. Who, of

course, but Orpheus could sing it?

"Love they say is my God" (II, pp. 452-457), a

rollicking, jovial, waggish air, contributes a full measure

of gaiety to the wedding scene of the final act. The more

extensive instrumental introduction not only sets the mood

of the air, but provides time for Hymen to move on stage.

Balancing the structure is an extended final phrase.

In the imitative interplay with the continuo in this

air, the flutes participate as a unit rather than indepen­

dently. With measure 30, the interplay ceases as the con­

tinuo assumes a purely harmonic role.

A p&rt of the wedding scene as well, "Hymen joyn you" (II, pp. 458-461) essentially follows the same composi­

tional procedure as "Love they say ..." above. There is

one breakdown in the unity of the instrumental parts, viz., measures 20-22, where the vocal melisma (measures 13-14)

is divided between the two and offset by half a measure.

Other stylistic differences include the use of a running bass (conforming to the melodic minor), the use of violins

rather than flutes, and the use of alto rather than bass

voice.

Airs With Chorus

Somewhat different procedures are employed in each

of the three airs with chorus. For "Come all away," a 105 three-part chorus merely repeats the concluding phrase of

the air. In "Make haste," (Act IV) the entire air is

repeated in a four-part setting. And, for "These gentle murmurs," the chorus is a setting of the final couplet of

the stanza and thus duplicates no part of the air.

"Come all away" (II, pp. 462-467), a sprightly little

air, was used to gather together the various members of

the "rural Quire" (Act'I). Imitation contributes measurably

to the vitality of the piece, the first instance (measures

7-8) carrying the eighth-note rhythmic motion on through count one of measure 8. Even more effective is its role in measures 19-27 and subsequently in the chorus (measures 30-

39), where, along with an ascending sequential pattern, it

increases the tension and momentum carrying to the cadence.

Typically, the vocal lines of the chorus are dupli­

cated by the instruments, either in unison or at the octave.

No explanation can be given for the inclusion of the tacet

instrumental stave.

Like "rage," "sing," and "grief," "no" occupied a

rather special place in the musical vocabulary of the

English musician. It is scarcely ever rendered with a

single utterance; it is not uncommon for it to be repeated

extensively. Not untypical as well is its setting in a

triple meter and fast tempo. That its use therefore occu­

pies somewhat over half of "Make haste" (II, pp. 468-475)

should not be surprising. 106

Imitation, and oblique or contrary motion between the voice and continuo in "Make haste" serve well to prevent ennui with the repetitious "no." Because of the rather nondescript inner parts, the chorus is not quite as fortunate.

Perhaps of greatest interest in "These gentle murmurs" (II, pp. 476-482) is the careful, sensitive treat­ ment given the text. The initial words of the first phrase are set to a basic melodic pattern of a descending fourth.

On the third beat of this pattern, however, is a smooth undulation that, along with the immediate repetition at the softer dynamic level and the sequential repetition of the full pattern, expresses the text most graciously.

Equally expressive is the setting given to the second phrase, in particular the words "move" and "passions."

Once again the phrase is repeated, but in the repetition

"move" is ornamented (compare measures 29-31 with measures

20-21), and "passions" is given a different and more extensive sequential pattern (compare measures 31-33 with measures 19, 23, 28).

Not to be overlooked is the formal significance of this final sequential setting. With its pattern completing

a full octave in descending order, the passage clearly establishes its relationship to the octave progression by

flute I in measures 4-6 and by the continuo in measures 7-8,

thereby adding measurably to the formal unity of the air.

In the chorus, the voice parts are duplicated 107

exactly by the instruments (probably strings); the meter

changes from duple to triple with the quarter-half, half­

quarter rhythm of the minuet; and the tempo seems more

sprightly because of the sesquialtera relationship.

Formally it consists of two periods, the first progressing

to the dominant (measure 46), the second returning via the

sub-dominant (measure 50) and an extra measure (measure 52)

to the tonic. The final phrase is repeated, presumably to

reinforce the tonic, to restore symmetry to the imbalance

caused by the extra measure, and to allow a more gradual

cessation of motion by means of a ritard.

Composite Airs

Included in this category are those compositions

consisting of at least two stylistically contrasted airs

(or arioso and air), joined together musically and.textu-

ally. Because of this combination, they are, except perhaps

for the number of movements, typical English cantatas.

The first of these, "To Hill and Dale" (II, pp. 483-

« ' 489), is comprised of two airs and a recitative. Both airs

are of the trio type, but differ markedly in style. Very

picturesque word painting causes the angular melody and

somewhat erratic rhythm of the first air. "Hill and Dale"

require high and low. "The winds" lift in "sighs" (measure

43) and then subside to let the "plaints return." The

solidarity of "rocks" (measure 21) requires a longer 108 sustained note value; the "streams" (measure 22) ripple downward in short notes.^ Insistent rhythms, now upward, now doymward, mark "How I" (measures 23-24; 25-26, 29-30) in contrast to the almost even setting of "despair" (measures

24-25, 28-29). And lastly, "despair" and "mourn" (measures

37-39), both words of remorse, are colored by a flatted note and a short descending melisma.

Quite in contrast to all of this is the smooth

Italian style of the second air, "The Streams." Distinctive word painting is still found, e.g., the open arpeggio for

"hollow" (measure 76), and the diminished fifth for "bewail"

(measures 79-80), but is more widely spaced and less energetic.

Modified as well are the instrumental interludes.

While these in "The Streams" emulate the vocal line, those in "To Hill ..." bear no direct relationship to the vocal model. Two other textual matters deserve mention. First, harmonic considerations take precedence over textural when there is conflict. An example of this procedure is seen in the use of " for "grief" at the conclusion of the recita­ tive. Second is the contextual distortion caused by the retention of the poetical form of lines 5 and 7 of "To Hill and Dale" (measures 53-80):

^It should be pointed out that virtually this same rhythm is used for a different verse in measures 35-39. 109 The Streams in murmurs. Hill and Dale, And hollow Rocks my fate bewail.

Contextually "Hill and Dale" is part of line 6, but for poetical reasons appears in line 5. Strangely enough, the musical setting preserves precisely the poetical format,

thereby rendering the text somewhat unintelligible. A more satisfactory solution to an analogous situation is

found in the setting of lines 7 and 8 (measures 84-96):

In Ecchoes kindly they resound My moan, and seem to feel my wound;

Here the order of the words is manipulated, "My moan" being

inserted before "resound." "To feel" is then repeated for

poetical and musical balance.

Part of the entertainment for the Emperor in Act III,

the second composite air "What voice is this" (II, pp. 490-

502) is an extended vocal utterance mostly by the character

Pan. The opening air is followed by a short recitative,

and another air in a fast duple setting. Concluding is a

four-part chorus answering to the demands made by Pan in his

delivery. Interestingly enough, it is the second violin that

is the most active in the first air, although both instru­

mental parts are rather lack-luster in and of themselves.

As companions to the vocal line, however, they serve very

well. With measure 7 the arioso section comes to a close

and a most engaging section in the Italian style begins. Almost stunning is the shift from the minor dominant in 110 measure 12 to the relative major in measure 13. Equally effective is the approach to and the sounding of the final unison "d" on "gone."

A rather perplexing rhythmic problem is presented in measure 11 of the recitative (II, pp. 491-492). Count 1 of the measure is fulfilled by the two thirty-second notes and the dotted eighth, count 3 by the quarter note, and count 4 by the combined value of the eighth rest and eighth note.

Count 2, however, is short by the value of a sixteenth.

The "3" inserted between the dotted eighth of count 1 and

the first sixteenth of count 2 suggests a triplet relation­

ship between the two, a relationship that complicates

rather than solves the situation. It is possible that the

"3" was intended to be over the three sixteenths, with the

resultant triplet taking up the value of count 2. Arguing

against this interpretation is the rather jarring dissonance

created by the skip from the "e'" into the diminished fifth

formed by the "g" and "c^." Furthermore, the rhythm for

"great" in the preceding measure appears to be analogous.

Two solutions are plausible; that the "3" was intended to

lengthen the dotted eighth by an additional sixteenth value

so that the three sixteenths come as a duple pattern after count 2 (in modern notation J , J J J J J / yT ) ; or, that it was intended to lengthen it by a value sufficient

to establish a triplet relationship between the dotted

eighth and the first sixteenth, with the remaining two Ill sixteenths to be performed in a duple manner.

Whereas the instruments were relegated to a sub­ ordinate role in the first air, they now, because of imita­ tion, assume an importance nearly equalling that of the voice. In few other airs does the imitative technique so pervade the entire structure as in "And you who reign."

Also worthy of mention is the role of the interval of a fifth (or its inversion) to formally unify this air.

Used as the opening interval for both instrument and voice, it recurs sequentially in measures 33-43 both in open form

(in the voice) and closed form (instrumental parts) to establish a tie-in with the opening section. It serves as well to begin the melody of the chorus, a melody not totally unrelated to the initial measures of the air.

An arioso and an air make up the third composite air "Appear old Hymen" (II, pp. 503-507). As above in "And you who reign," both instruments are actively engaged in melodic and rhythmic interplay with the vocal line and/or with each other. Resulting from this closely knit texture are some skillfully conceived passages, in particular measures 10-12 and 17-18.

Unique among the pieces included in this study, and certainly uncommon in Baroque music generally, is the off­ beat rhythmic setting of "pleasures" (measures 7-8 and

12-13). Additional rhythmic interest is provided by the occasional Scotch snap setting of "unspotted" (e.g.. 112 measure 10).

Although using a different meter from the two pre­ vious airs in this category, i.e., 3/4 rather than 3/2,

"Come at Cupids dread command" conforms to the Italian tradition. Of special interest is the cadential passage in measures 69-77, first of all because of the unexpected melisma at the end (measures 74-77), and secondly because of the dynamic marking. Of concern in this latter regard is not the inclusion of the markings for this passage, but their omission from the similar passage in measures 95-102.

Presumably the second iteration of the two-measure segment by the instrument (measures 97-98) would remain at the loud dynamic level, contrast here being provided by timbre.

The voice, in its repetition (measures 99-100) would con­ trast once again with the softer dynamic level, and then revert to "loud" for the final two measures.

A single arioso, and a recitative not connected to another composition remain. The arioso "Harkl what dreadful

Notes" (II, pp. 508-510) follows the "Trumpet Sonata" in the musical duel of Act II. To depict the "dreadful clangor" of the trumpets, Purcell uses a concitato style, agitating by means of a sixteenth-note pattern in contrary motion (e.g., measure 8) and creating harmonic tension with irregular chordal progressions (see especially measures 20-

29). Irregular phrasing, an erratic rhythmic structure, and a jagged melodic contour— all resulting from textual 113 considerations— combine to produce a very rhapsodic vocal line that further heightens the drama of the piece.

Especially striking in this regard is the middle section

(measures 16-29). With the skip of a sixth^® at the final cadence, one may well conclude that this is indeed a dread­ ful piece of music.

Surely "Wheres my Pan" (II, p. 511) is one of the most impassioned pieces in the opera. And, if indeed it followed the Dialogue song of the Satyr and Nymph (see below), it provided one of the boldest dramatic contrasts of the work. The longing, the anxiety, the yearning are all so aptly portrayed by the descending melismas, the persistent rhythms, the poignant dissonances. Whereas the dialogue song would.ikave been viewed with some degree of amusement, this delivery by Ceres certainly would have touched the senti­ mental heartstrings of the audience.

Dialogue Songs

The text of the first of the two dialogue songs does not appear in the publication of the text, and thus probably represents an addition^! by the manager to vary or spice up the offerings of the evening. "I've courted thee long"

l^It seems probable in view of the text at this particular moment, that the "a" should, in fact, be a "g." Contextually as a whole, however, the dissonance may be added to elicit one final wince1

llperhaps more accurately a substitution, since part of the given text is omitted at this point. 114

(II, pp. 512-515) is interpolated after the composite air by Pan in Act III. Its bawdy text and pressing manner must have been sheer delight to the young rakes. As one might expect in an amative argument such as this, the tension increases as the dialogue progresses, reaching a climax in the final repeated section. Musically this is achieved by

a change in meter (causing the pulses to come closer

together), by the more frequent interjections of the Nymph,

and by the sequentially rising line of the Satyr (measures

58-62). It is related to the situation at hand only by the

reference to Pan and by the use of mythical beings.

Tonality and meter are varied to distinguish the two

participants in "Our work at an end" (II, pp. 516-519), the

tonality oscillating from minor to major, the meter alterna­

ting from duple to triple or compound. Also varied is the

phrasing, shifting from regular patterns in the opening two

sections (measures 1-8, 9-17) to more irregular groupings

after that point. Word painting for "hold" (measures 40,

42) and its repetition causes one such irregularity. Other

unusual turns occur in measures 65 and 68. Why "sow" and

"bare" are elongated when a more immediate continuation of

the following rhythmic patterns seems in order is not known.

Duets

Imitation, in varying degrees, influences the

texture of each of the duets. In "For Her we Crowns" (II, 115 pp. 520-524) every entry involving the two voices uses the device. The continuo begins as an independent part and largely remains that way until measure 25. After that point it duplicates the vocal bass.

Formally the duet is bipartite, with the chorus repeating the second section. Other than a slight rhythmic variant in the soprano in measures 9 and 17, and, of course, the two additional parts, this repetition is exact. Even the imitative procedure is retained, for the voices are paired in the entries. After these entrances, the middle voices function as harmonic filler, the tenor being the least active voice.

In "Plenty mirth" (II, pp. 525-526) the compositional technique, an imitative beginning followed by a joining together of the two voices in a convmon or similar rhythmic pattern prior to the cadence, differs little from that used above. An interchange of parts (with some modification) occurs in measures 5-10, the bass initiating the pattern in measure 5, the soprano in measure 8. Also of interest in this phrase is the single use of the plural form of "delight" (soprano, measure 10), the only form given in the publication of the text, but omitted by Purcell in the pre­ vious occurrences of the word apparently to avoid an intem­ perate display of the sibilant sound.

An intriguing balance is achieved in the second section by the insertion of two full measures (measures 21- 116

22) relegated to a single voice. These two measures serve as the central point of a section having eight measures on either side. This finely developed structure and the disciplined contrapuntal technique undoubtedly contributed to the widespread popularity of the piece.

Summing up and bringing to a temporary close the various musical and dramatic threads delivered in the initial series of airs of Act IV is the purpose of the remaining duet "Wee'1 go to the Cave" (II, pp. 527-528).

After presenting the problem and then hearing Love's solu­ tion, the Shepherd and Shepherdess decide on a plan of action to free Phylander (representing Adrastus) from Pan

(representing the Emperor), which is to "go to the Cave."

Perhaps to show the equality of each participant in the decision, or perhaps for purely musical reasons, each singer initiates the imitation beginning two phrases. The continuo also shares in the interplay, but to a lesser extent.

Trio

Serving as the melodic affect for the trio "To Love we'll lasting" (II, pp. 529-531) is an arpeggiated figure, stated first in an ascending form by the various parts as they enter imitatively. The second, and only other appear­ ance of this motive preceding the repeat, is an extended one in the alto beginning with "homage pay" (measure 6) and going to "high" (measure 8).

After the repeat, however, the motive in descending 117 form dominates the structure. It once again serves to open the section imitatively, occurs in the following measure in the bass, across measures 13-14 in the alto, in measures

16 and 17 in the bass, and permeates all voices from measure

22 to the end.

Of greater significance, however, is the finesse shown in the construction of the piece from the standpoint of choral procedure. Beginning imitatively, Purcell then combines the lower three parts to alternate with the upper voice in a descending sequential pattern (measures 4-6).

The section is concluded with a unanimous chordal effort, creating a climax of considerable strength.

The same procedure prevails in the first phrase after the repeat (measures 10-14). With "and every heart,"

(measure 15), the parts are divided so that the upper two

.move independently of the lower two. Although the rhythms become almost identical by measure 19, the imitative inter­ play initiated at the end of that measure on "can" maintains this division until the cadence in measure 22. At this juncture, the bottom three parts are once again joined as a unit to answer the arpeggiated motive stated by the alto.

As each of the remaining cadences is approached, the parts gradually coalesce to move as a single rhythmic entity. The final artistic stroke results from this pro­ cedure, viz., the unanimous "no," and one beat of complete

silence in measure 29. In all likelihood the repetition of 118 the final phrase (measures 25-29) would be soft, countered by a solid forte for this "no" and the remaining two measures.

Grand Chorus

The final chorus (II, pp. 532-544), while grandiose, is not particularly complicated. Violins and hautboys double the upper two choral parts; the lower strings rein­ force the tenor and bass. Fanfare and brilliance are added by the tympani and two trumpets, the latter having parts independent of the chorus.

The structure is sectionalized by the different compositional techniques applied to each verse. For the first line, fugal technique is used; for the second (measure

17) chordal; the third (measure 23) and fourth (measure 27) imitation; and the fifth (measure 45) chordal. For purposes of climax, the full instrumental resources are not utilized until the concluding phrase.

An instance of overzealousness in one place seems to detract from the effectiveness of the piece, viz., measures

17-22. This verse is extended at least one, and perhaps

two measures too long. One might also question the necessity

of repeating verse 4 dji toto (measures 36-44) . This con­

struction can perhaps be justified on the basis that the

repetition at the softer level provides a more striking

contrast for the concluding passage. 119

Summary: Vocal Music

Without doubt the single most important factor governing Purcell's vocal style is his consideration of the text. His melodies are shaped by the words, his rhythms created by them. As the poet states in the Preface to The

Grove : "No man ever considered the meaning of the words more than Mr. Purcell. ..." The consequence of this is seen in the numerous instances of word painting presented above.

Yet with all this diversity, certain intrinsic, certain fundamental characteristics emerge. The doctrine of affects conspicuously governs the style of some of the compositions, e.g., the heroic, the pathetic. On a smaller scale, particular words or types of words, e.g., words of remorse, of joy, of rage, are consistently set in distinc­ tive patterns.

Formal unity is achieved fundamentally by harmonic means, although recurrence of themes, interludes, or melodic motives often aid in the process. Formal balance is fre­ quently enhanced by the repetition of a final phrase to correspond with a repeated motto beginning. Only a few of the compositions leave the generally smaller confines of the bipartite form. An occasional rondo, and now and then a tripartite structure are found, but there is no piece that approximates a full-blown ^ capo aria. Indeed, to expect such a form would be, for the most part, to expect 120 the inappropriate. The only large vocal form used is the composite air, which by definition consists of a group of smaller pieces. Compositional procedure is obviously quite varied, but most pieces are chordal with timely bits of imitation interspersed. Motto beginnings are common. Their repeti­ tion along with that of the final phrase is to be expected.

Repetition of other phrases with concomitant dynamic and/or melodic variation is equally prevalent. Sequence is another standard feature. It is used for descriptive purposes, as a vehicle for modulation, and to heighten or relax tension.

Used as obbligato instruments are violins, hautboys, flutes, and trumpets, with the requirements of text or dramatic circumstance dictating the choice. They imitate, duplicate quasi concerto, or are written in duet or trio with the voice.

In the choruses the instruments normally double the voice parts in unison or at the octave. Only under special circumstances, e.g., the trumpets in the "Grand Chorus," do the instruments have independent parts.

The harmonic vocabulary is not different from that found in the instrumental music. Tonal areas related by thirds and fifths are the rule. These tonal areas are more consistently varied in the minor keys, with progressions to the relative major and its dominant in addition to the 121 dominant of the tonic being the usual keys. Cadences on the supertonic and the subdominant are rare.

Though not as routine, cadences on the mediant in both major and minor forms are also found in compositions in the major key. Deceptive cadences occur in more than a third of these pieces. Used habitually to establish the dominant cadences, the supertonic occurs only twice as a cadential key center.

The same factors causing these particular tonal patterns govern as well the harmonic progressions leading to these cadences. The progressions differ from those of

"common practice" primarily in their more frequent use of the third as the basis for chordal relationships, rather than relying predominantly on the fifth. Modal influence is evident in the numerous Phrygian cadences and in alter­ nation of major and minor triads (or vice versa) on the same pitch. Diatonic successions of chords in first inversion are commonplace. More colorful progressions, e.g., measures 22-29 of "Harkl what dreadful Notes" (II, pp. 508-510), quite obviously result from word painting and therefore lie outside the general vocabulary.

Both vocal and instrumental music (excluding the

introductory "Suite" and "Overture") have a rather vital role in the unfolding drama of The Grove. The instrumental music allows time for stage movement ("Ritornel," Act IV); announces the characters ("Trumpet Sonata," Act III, 122 announces Fame twice); is used for descriptive purposes

(musical duel of Act II); and sets a mood. The "Symphony" in Act IV probably was used as "soft music" during the last few speeches before "Underneath a gloomy Shade." If so, flutes or hautboys were undoubtedly substituted for the strings. The vocal music explains, elaborates, or by analogy brings the dramatic situation into sharper focus.

Only the "Dialogue" of the Satyr and Nymph (Act III) has no connection with the opera, although the musical duel in

Act II has little connection and no direct bearing on the development of the plot. With few exceptions, the music of the opera is con­ centrated as a unit within each act. These units consist of two or more airs and may include an occasional recita­ tive, duet, or arioso. In all but Act III, a chorus con­ cludes the unit. Bringing the unit of Act III to a climax is the repetition of the "Trumpet Sonata" followed by the heroic air "Away these Fairy charmes." It is only in the

"Grand Chorus" that the full musical resources are used.

While there is diversity of key within each unit and among the several units, key is, nevertheless, the major unifying factor. In Act I the keys used are "D" minor and

"F" major except for a single piece in "C" minor. In Act

II, the keys employed are: c, F, C, C, a, C in that order.

In Act III the keys are "D" (major or minor) and its domi­ nant "A" (major or minor) with the single exception of a 123 composition in "F" major. Act IV employs the new tonal

area of "E" and its dominant "B" minor, with one composition in "G" major. And finally, "D" minor and major are the keys employed in Act V with the exception of one air in "F" major. Considering the five acts as a whole, a "rondo" pattern based on "D" emerges. "D" is central to Acts I,

III, and V. Act II centers on "C," one step below "D";

Act IV centers on "E," one step above "D." The result is a musically unified opera. By concluding each of the first

four acts with a chorus or other composition of greater dimension, and by reserving the "Trio" and "Grand Chorus" for the conclusion of Act V, musical climax is also achieved. CHAPTER IV

CONCLUSION

With a disinterested monarchy, and with the coterie of wealthy benefactors disbanded, the theatre managers were forced to rely on box-office receipts for financial suste­ nance. Coming into their audiences in ever increasing numbers were the middle-class merchants and their wives.

First to attract, and then to maintain the interest of this group, major adjustments in the drama were made. Farce replaced wit, morality supplanted eroticism, and tragedy gave way to sensationalism. Sentimentalism took a firm hold. Womanhood was elevated in importance. Speeches were deleted, and in their places were put songs, dances, and other kinds of entertainment or amusement. That drama became less sophisticated because of these changes is of little significance, for the productions continued to appeal to the people in attendance. To this end, the plays were as successful as those of the Restoration or Elizabethan age. Yet the plethora of really ill-conceived and badly contrived plays resulting from these accommodations was scarcely a boon to the theatres. And music, although more consistent in its level of quality, rarely rose to

124 125

sufficient heights or played a sufficiently vital role to

prevent the demise of a mediocre play. A notable exception was the opera. The Island Princess, which survived because

of its music.

Precise information regarding the total musical

situation under Rich's management is scanty. It is known

from publications of the music that professional musicians

rather than the actors themselves sang most of the airs. To

an audience accustomed to this procedure, such substitutions

caused little concern. On the contrary, the advertisements

indicate that the audience looked forward to these substitu­

tions, for the singers, the songs, and other bits of enter­

tainment are often a part of the billing. These same musicians undoubtedly formed the choruses as well.

The size and instrumentation of the orchestra prob­

ably remained constant during a season. Although produc­

tions such as The Grove or The Judgment specify a wider

variety of instruments, it is not unreasonable to assume

that for most other productions the woodwinds were regularly

used if only to provide contrast within the music preceding

and between acts of the play. The precise number of players

is not known, but a figure between 15 and 20 seems

reasonable. Allowing two players for each of the strings

other than violoncello, and one for each of the other instru­

ments, the orchestra for The Grove would have numbered 16,

that for The Judgment, 15. 125

The musicians comprising the nucleus of the orchestra

were undoubtedly the composers of the instrumental music,

such as Purcell, Finger, Clarke, and Peasable. Supporting

this conclusion is an advertisement for the Emperor Of The

Moon, April 19, 1703, which states; "A new Entertainment

^ by the whole Band, in which Paisible [sic], Banister, and

Latour play some extraordinary Parts upon the Flute, Violin,

and Hautboy."^

While most of the instrumental music presented in

this study is non-dramatic in the strict sense of the word,

it nevertheless formed an integral part of the total

theatrical offering. Played while the audience was entering

the theatre, it served to quiet as well as to entertain.

Indeed, it announced that the play was impending (first

music), or imminent (second music). Between acts it pro­

vided respite for the actors, accompanied divertissments on

the stage, or provided background for the chattering, the

hawking of oranges, the ogling, and the pinching taking

place in the pit. The smaller portion of the instrumental

music included within the acts was used for dances, to cover

the noise of stage machines, to provide time for movement

on the stage, to announce characters, to calm and to stir

the passions.

In contrast, most of Purcell's vocal music (all of

^Eramet L. Avery, The London Stage 1660-1800, Part 2, I (Carbondale: Southern Illinois University Press, I960-), 34. 127 it in the case of The Grove) occurs during the acts.

Although these pieces often can be removed without disturb­ ing the development of the plot, they are an integral part of the complementary episodes. As such, they soothe melancholy, assuage fear, entertain the characters, bribe officials, and heighten the effect of duels and wedding scenes.

The compositional style of both instrumental and

VQcal music is simple and unpretentious, resulting in part from accommodation for the audience. Binary forms are the most numerous. Simple three-part forms and an occasional rondo are also found. Formal unity is achieved basically by harmonic means. Only infrequently do thematic relation­ ships supplement this underlying framework. More commonly aiding in the unifying process is the presence of a single affect.

Harmonically the mediant and sub-mediant chords are vital. Intermediate cadences on these chords as well as root progressions by the third involving these chords are common. Progressions based on dominant relationships are also standard. Conspicuously rare is the use of the sub­ dominant. Modal influence is particularly evident in the frequent alteration of chords from major to minor or minor to major. Unusually colorful progressions are found only in the recitatives, ariosos, and other compositions in slower tempos. 128 The texture of Daniel Purcell's theatre music reveals an interesting combination of homophony and counterpoint.

Contrary motion, oblique motion, and imitation at the

fifth or octave are consistently employed at the beginnings of the formal divisions of the compositions. More intricate contrapuntal devices such as retrograde, inversion, and

augmentation are also found, but their use is quite limited

(see in particular the "Canzona" in The Judgment Of Paris).

The melodic line is angular, especially in comparison

to the smooth Italian style, and is not always predictable.

Sequential and echo passages are common. Standard affects govern many of the melodic patterns. Ornamentation varies

the repeated segments of the line by filling in intervals,

changing intervals, adding upper or lower neighbors, and

by altering rhythms. No ornamental signs are given. The melodies of the vocal compositions reveal an unusual sensi­

tivity to the rhythmic inflection and vocal nuance of the

text. The music herein presented is most analogous to the

broadway musical production of today, and must be evaluated or judged on that basis. Its primary purpose was entertain­

ment, not inspiration. To be sure, there were a few composi­ tions from these productions of a quality and appeal that

became "hit tunes" of the time and that remained in the repertoire for more than two decades. That most of the com­

positions did not achieve such fame did not discredit the 129

composer then any more than it does now. It was composed

at a particular time for a particular audience, neither

element controllable by the composer. It spoke to and

communicated in terms of those immediate circumstances.

That it survived with little royal subsidy is evidence of

its popular appeal.

The composer, as well, was a product of his time.

Daniel Purcell's early musical instruction came as a chapel boy. His first position was that of church organist. With

the demise of Henry Purcell, he returned to London and

assumed the position of "house composer" for the Drury Lane theatre. In his later years, he returned once again to the organ.

Although a larger portion of his music was written

for the theatre, it is not necessarily his best. He also composed anthems, psalm tunes, odes, sonatas, cantatas, and keyboard pieces— practically every type of music common to the English idiom at that time.

As a composer Purcell could not be classified as an innovator, although some of his compositional techniques are progressive. Neither was he a rigid adherent to past traditions. He apparently composed an opera in the Italian style, and he composed one set of cantatas after the

Italian manner. He was, however, typically English in his evaluation of the merits of foreign music and its 130 suitability ^for the English stage.%

His theatre music is certainly as good as, and per­ haps on the whole better than that composed by his contem­ poraries. There is no evidence to suggest that his employ­ ment as "house composer" by Rich was based on any grounds other than his musical abilities. That his musical gift did not equal the genius of Henry Purcell is undoubtedly true. However, the comparison should not even be made.

They composed at different times, for different theatres, for different talent, and for a different audience. This is not to imply that a reversal in their situations would have caused a similar degree of change in their composi­ tions, but there would have been differences. Daniel, as did Henry, composed for the situation and circumstances at hand. He assumed a place as one of the better theatre composers on that basis.

\

^See his preface to Six Cantatas For r Voice . . Compos'd after the Italian Manner by Mr. Daniel Purcell (London: Printed for J. Cullen. . . , n.d.). APPENDIX A

CALENDAR OF PLAYS

This calendar presents all of the plays incorporating music by Daniel Purcell. The plays are listed under the season of their premiere or revival. Given in parentheses after the date is the total number of performances of all plays using Daniel's music presented during that season.

Thus, for the season of 1696/1697, the number (16) includes not only the performances of the plays that premiered during that season, but also performances of plays that premiered during the previous season. After each play is given in parentheses the total number of performances of that particular play from the date of its premiere to the end of the 1717/1718 season, the year of Daniel's death.

This information is taken from William Van Lennep and Emmet L. Avery (eds.). The London Stage 1660-1800,

Parts 1 and 2, I, II, (Carbondale: Southern Illinois Uni­ versity Press, 1960, 1965). It should be understood that the information contained in this source is derived mainly from advertisements, playbills, and contemporary comments, and that therefore the number of performances is only approximate. The figures for the total number of

131 132 performances of the first seven seasons are particularly

low because of the dirth of such information. In later seasons where advertising was more regular, the numbers are more nearly accurate. With these limitations, only the relative popularity of each play can be determined. Nevertheless, the list does add another means of assessing Daniel's success as a

theatre composer. 133

Season: 1695/1696 (8)

The Indian Queen (11)

Love's Last Shift; or. The Fool In Fashion (38)

The Younger Brother; or. The Amorous Jilt (1)

The Lost Lover; or. The Jealous Husband (1)

Pausanius (1)

Ibrahim, The Thirteenth Emperour Of The Turks (6)

The Spanish Wives (3)

Season: 1696/1697 (16)

Amalasont, Queen of Ye Goths; or. Vice Destroys Itself (?)

Brutus Of Alba; or, Augusta's Triumph (1)

The Relapse; or, Virtue In Danger (44) Cynthia And Endimion; or, The Loves of the Deities (2)

The Triumphs of Virtue (1)

Psyche (1)

The World In The Moon (2)

Season: 1697/1698 (9)

Amintas (1)

Sauny The Scot; or. The Taming The Shrew (17)

The Rival Queens; or. The Death of Alexander The Great (25)

Caligula (1) Phaeton; or. The Fatal Divorce (2) The Campaigners; or. The Pleasant Adventures At Brussels (1) 134

Season; 1698/1699 (7)

The Island Princess; or, The Generous Portuguese (70)

Massaniello, The Famous History Of The Rise And Fall Of (1)

Season: 1699/1700 (16)

The Emperour Of The Moon (64)

The Northen Lass (43)

The Constant Couple; or, A Trip To The Jubilee (48)

Achilles; or, Iphigenia In Aulis (1)

The Grove; or. Love's Paradice (1)

The Reform'd Wife; or. The Lady's Cure (3)

The Pilgrim (48)

Season: 1700/1701 (25)

Love Makes A Man; or. The Fops Fortune (64)

The Unhappy Penitent (1)

The Humours Of The Age (3)

The Judgment Of Paris (4)

The Bath; or. The Western Lass (3)

Season: 1701/1702 (4)

The Funeral; or. Grief A-la-Mode (26)

The Modish Husband (1)

The Inconstant; or. The Way To Win Him (4)

(King William died on Sunday, March 8, and the playhouses were forbidden to act until after 135

the Coronation, April 23.) 1

Season; 1702/1703 (20)

All For The Better; or. The Infallible Cure (1)

The Patriot; or. The Italian Conspiracy (1)

Season: 1703/1704 (42)

Macbeth (68)

The Faithful Bride Of Granada (1)

Season: 1704/1705 (53)

The Careless Husband (54)

Farewell Folly; or. The Younger The Wiser (6)

The Tender Husband; or. The Accomplished Fools (34)

Orlando Furioso (?)

Season: 1705/1706 (50)

(No new productions)

Season: 1706/1707 (50)

The Beaux Stratagem (51)

Orpheus and Euridice, The Masque of (?)

Season: 1707/1708 (53)

The Royal Convert (7)

^Emmett L. Avery, The London Stage, 1660-1800, (Carbondale: Southern Illinois University Press, 1960), Part 2, I, p. 19. 136

Season: 1708/1709 (27)

(No new productions)

Season: 1709/1710 (51)

(No new productions)

Season: 1710/1711 (28)

(No new productions)

Season: 1711/1712 (26)

(No new productions)

Season: 1712/1713 (25)

(No new productions)

Season: 1713/1714 (21)

(No new productions)

Season: 1714/1715 (75)

(No new productions)

Season: 1715/1716 (77)

(No new productions)

Season: 1716/1717 (62)

(No new productions)

Season: 1717/1718 (19)

(No new productions)

Season: unknown The Unhappy Conqueror; or, Vertue Rewarded (?) APPENDIX B

PLATES OF THEATRE DESIGNS

137 138 PLATE r 139 PLATE i r

t r t

W l

I». I.

,Wr«n*i Drury Lane 1, fl ilrmving adapted from the section of a playhouse designed by irren and presumed to be fo r Drury r ^ n r, dated 1074. 8, the reconstructed plan of ll’rcn'* D ru ry Latte to the same scale as the section. The top half is the plan at upper level; the bottom h a lf a t stage level. 3, isometric reconstruction of the same wUh backstage areas fu rth e r deoepyped attd ty p i­ cal scenery inüuded. The roof construction has been taken from other Wren delttilsi 140 PLATE III'

Cotipc>prt*re J'ur leu lo r^u e u r du Thêaliv, de> VOpéra de-Londres. miiipi*

1 Û »■ t - r t"

r3UM#nvl I’ I M r ^

{;, J iS t é fr lu /«Mforf/ir/

i l ® . i «tyy If rUn»r Thiatet

p3*-

Plan de itu Jallu de- UOpûiu de Londres et de ses d^endaneet.

Pfmtyaie di «dit A Hpm00ditt*

O p éra House, H a y m a rk e t. Plan and section, cnp^ved c. 1774 (pp. 227-8). D m o lù k e d 141 PLATE IV^ 142

SOURCES OF PLATES

^Richard Leacroft, "Wren's Drury Lane," Architec­ tural Review, CX (1951), 45.

Zibid., 44.

^London County Council. Survey of London, Vol. XXX (London: London County Council, 1960), Plate 26.

^Ibid., Plate 24. APPENDIX C

CATALOGUE OF THEATRE MUSIC

The individual plays, arranged alphabetically, serve

as the basis of organization for this catalogue. The name of the playwright and the date of the premiere performance

are given along with each title. Where the premiere date is obviously too early, the date of the revival for which

Daniel Purcell composed the music is also given. Question marks follow dates that are uncertain. Unless the contrary is noted, these dates are taken from William Van Lennep et al. (eds.). The London Stage 1660-1800, 5 Parts (Carbondale:

Southern Illinois University Press, I960-).

Listed first under each play title are the instru­ mental compositions. These compositions are given in the order of their appearance in the score. The vocal composi­

tions, appearing second, are listed in alphabetical order.

For both categories, compositions by composers other than

Daniel Purcell are listed first.

Beside each composition is entered in parentheses

its source, or sources as the case may be. The initial number for each of these entries refers to the list of manuscripts and published collections given at the 143 144 beginning of the catalogue. Following this number is the volume (where applicable) or set (where part books are the source), and the pagination.

The reader should understand that pagination in most of these sources is not specific. Many collections have two numbers for each page. Others have some pages numbered

(not always correctly) and some unnumbered. The situation is no less problematic in the manuscripts, where, in addi­ tion to both of the above complications, some are numbered from back to front as well as front to back. The author has endeavored to be as consistent within each source as possible. Where pagination is absent or misleading, numbers in brackets have been supplied. For songs of more than one page included in sources where only the title page is numbered, the plural of page is given and a hyphen follows the number (e.g., pp. 160-).

Sources for suites are given after the main title

"Overture and Aires." If these suites were composed by

Daniel Purcell, a listing of the individual dances com­ prising the suite is indented below this title. In some instances one or more of these individual dances are found in sources other than those containing the complete set.

Where this occurs, the additional source is listed beside the particular dance to which it pertains. For those suites by composers other than Daniel Purcell, the listing of the individual dances is restricted to those having an 145 additional source.

In several plays it will be noted that both vocal and instrumental music by composers other than Daniel

Purcell are given. Generally speaking, no attempt was made beyond the sources containing Purcell's music to ferret out the contributions of these other composers. Yet it was felt worthwhile to present the information garnered within this limitation because it provided a more accurate picture of Purcell's role in the total musical situation.

The composer's name is given in one of three differ­ ent ways. For compositions where authorship is certain, i.e., where his name is found on the piece itself, or where it is given in the title of a collection having no pieces by other composers, the name is given by itself. Where the authorship is probable, i.e., where no definite ascription is found, but where other compositions of the play are by that composer and some supporting secondary evidence is present, the composer's name is followed by a question mark.

Where no ascription is found, where secondary evidence is either conflicting or too scanty to make a more precise judgment, "unknown" is used. 146

Manuscripts

British Museum.

( 1) Add. MS 15318. The opera of the Island Princess; or, the Generous Portuguese, in full score, with the libretto. . . . ( 2) Add. MS 22099. [Catches, Duets, and Fragments of Instrumental Music, mostly with a bass, in score].

( 3) Add. MS 29378. Incidental Music, in score, by John Eccles, . . . [and D. Purcell's Mask in ye Pilgrim].

( 4) Add. MS 29398. The Judgment of Paris ; a masque . . . composed by Daniel Purcell. . . .

( 5) Add. MS 31405. Separate numbers from dramatic works by English composers, with instrumental symphonies, etc., in score.

( 6) Add. MS 31453. Incidental music by various composers. . . . in score.

( 7) Add. MS 31813. Incidental music, portions of Opera etc. . . . [usually] accompanied by a bass, in most cases figured, and are in score.

( 8) Add. MS 33351. A Collection of songs, duets, and trios by Dr. Thomas Augustine Arne, Corbet, Dr. Samuel Howard, John Stanley, Daniel Purcell, Michael Wise, John Eccles, Richard Leveridge, Monro, J. Barker, Henry Carey . . .

( 9) Add. MS 35043. Original pieces and arrangements for violin or flute, by John Channing; 1694-1697. Included are a few songs with words and numerous fragments of incidental music by Henry Purcell, [Daniel Purcell], and others. . . .

(10) Add. MS 37027. Miscellaneous collection of com­ positions in score, including: . . . Frag­ ment of Nicholas Rowe's Royal Convert [1708], the music by [Daniel?] Purcell. 147

(11) Add. MS 38189. Collection of dance-tunes, numbers from operas, etc., apparently begun by Sir John Rowland shortly before 1696 . . . with additions in 1722 and later. . . .

Royal College of Music.

(12) MS 988. The Musick in the Opera Called The Grove or Love's Paradice by Mr. Daniel Purcell.

(13) MS 989. A Song On The Anniversary of Her Royall Highness the Princess Ann of Denmarke, composed by Daniel Purcell. Anno 1697/1698

(14) MS 1064. Cease ye Rovers.

(15) MS 1144. [Overtures and Airs].

(16) MS 1172. A Curious Collection of Overtures, Act Tunes, Dance Tunes etc. Composed by Henry Purcell, Daniel Purcell, Mr. Peasable et al. 4 vols.

(17) MS 2103. [Two Songs from The Pilgrim].

St. Michaels College.

(18) Tenbury MS 1175. [Includes music for the last act of Indian Queen, Cynthia and Indimion, and Pausaniusl .

Fitzwilliam Museum.

(19) MS 23-H-12. The Music In The Opera of the Rival Queens [composed by G. Finger and Daniel Purcell], and Mr. Purcell's Prize Musick [The Judgment of Paris].

(20) Magdalene Part Books. 5 vols.

Bodleian Library.

(21) MS Musi Sch. c. 61. Miscellaneous pieces of music, chiefly instrumental: among the authors' names are: Henry Purcell, Daniel Purcell.

L... 148 (22) MS Mus. Sch. c. 95. A large collection of short English musical pieces, both vocal and instrumental. . . .

(23) MS Mus. Sch. 3. 397. Short pieces of instrumen­ tal music, . . .

Printed Collections

(24) The Alamode Musician, Being a new Collection of Songs. . . . [London]: Sould by Henry Playford . . ., 1698.

(25) Calliope or English Harmony, A Collection of the most celebrated English and Scots Songs. 2 vols. London; Printed for and sold by John Simpson . . ., n.d.

(26) Collection of English Ballads from the beginning of the present Century. Vols. II, IV, VIII. n.p.: 1790. [British Museum G. 307].

(27) [Collection of English Songs. (British Museum H. 1601)].

(28) [A Collection of New Songs (British Museum G. 316b)].

(29) Collection of Old Songs. [British Museum G. 305].

(30) A Collection of Original Scotch Songs, with a Thorough Bass to each Song, for the Harpsi- cord. 5 vols. London: Printed for and sold by J. Walsh . . ., n.d.

(31) [Collection of Overtures and Aires for the Theatre, in four parts. (British Museum g. 15)] . (32) [A Collection of Songs (British Museum G. 303)].

(33) [Collection of Songs (British Museum G. 315)].

(34) A Collection of Songs For Two and Three Voices, Set to Music by Mr. Handel, Dr. Blow, Mr. Leveridge, Dr. Greene, Mr. Eccles, Mr. Lampe, Daniel Purcell, Mr. Corse, Henry Carey. London: Printed for John Johnson . . ., n.d. 149

(35) A Collection of the Choisest Songs & Dialogues Compos'd by the Most Eminent Masters of the Age. London: Printed for and sould by J. Walsh . . ., n.d. [British Museum G. 151].

(36) A Collection of the Choicest Songs & Dialogues Composed by the Most Eminent Master of the Age. London: Printed for & sould by J. Walsh ...» n.d. [British Museum G. 304].

(37) [Collection of Theatre Songs (Gresham Library)].

(38) The Compleat Musick-Master : Being Plain, Easie, and Familiar Rules for Singing, and Playing On the most useful Instruments now in Vogue, according to the Rudiments of Musick . . . Containing likewise A great Variety of Choice Tunes . . . with Songs for two Voices. . . . 3rd edition. London: Printed by and for William Pearson and Sold by John Young . . . and E. Miller . . . 1722.

(39) Eccles, J[ohn] and Purcell, D[aniel]. A Collec­ tion of Lessons and Aires for the Harpsicord or Spinnett. Compos'd by Mr. J. Eccles, Mr. D. Purcell and others. London; Printed for J. Walsh . . . and J. Hare . . ., n.d.

(40) Deliciae Musicae; Being a Collection of the newest and best Songs, With the Additional Musick to the Indian Queen by Mr. Daniel Purcell. . . . First book of the Second Volume. London: Printed by J. Heptinstall, for Henry Playford . . . and John Church, Sold by Daniel Oring . . . and . . . by Francis Dollife . . ., 1696.

(41) D'Urfey, Thomas (ed.). Wit and Mirth: or Pills to Purge Melancholy. 6 vols. New York: Folklore Library Publishers, Inc., 1959.

(42) [English Songs (Hirsch m. 1475)].

(43) Harmonia Anglicana; or, English Harmony Reviy'd. A Collection of the most Favorite Two, Three and Four Part Songs and Dialogues. 3 Vols. London: Printed for J. Walsh . . ., n.d. 150

(44) Harmonia Anglicana? or. The Musick of the English Stage, Containing Six sets of Ayers and Tunes in 4 Parts, made for the Operas, Tragedys, and Comedyes of the Theater Royal The first Collection. 2 vols. London; Printed & sold by J. Walsh . . . & J. Hare . . ., n . d.

(45) Horton, Francis. A Collection of Songs by Severall Masters. n.p.: 1704.

(46) Mercurius Musicus: or. The Monthly Collection of New Teaching Songs, Being the Single Songs in the New Opera, call'd (The Mad Lover) . . . Compos'd by Mr. John Eccles. . . . London: Printed by W. Pearson . . . for Henry Play­ ford . . . Sold by John Nutt . . ., 1701.

(47) Mercurius Musicus: or, the Monthly Collection of New Teaching Songs. Compos'd for the Theatres, and other Occasions. 9 vols. London: Printed by William Pearson . . . for Henry Playford . . . and J. Hare . . ., and J. Young . . ., [1699].

(48) Mercurius Musicus: or the Monthly Collection of New Teaching Songs (For the Year 1700). Compos'd for, and Sung at the Theatres, and other Publick Places. 7 vols. London: Printed by W. Pearson . . . for D. Browne . . . and Henry Playford . . . 1700.

(49) The Merry Musician; or, A Cure for the Spleen: Being A Collection of the most diverting Songs and pleasant Ballads. . . . 4 vols. London: Printed by H. Meere, for J. Walsh . . ., J. Hare .. . A. Bettesworth . . . and J. Brown . . ., 1716.

(50) The Monthly Mask of Vocal Music, or the Newest Songs Made for the Theatres & other Occasions. London: Printed for an sold by J. Walsh and J. Hare et al...... 1705-1718. [Yearly dates for the various months of this collec­ tion have been altered and thus are quite irregular, esp. for 1706-1707. It's difficult to determine the precise year of publication.]

(51) Purcell, Dan[iel]. A Collection of new Songs . . . Compos'd by Mr. Dan Purcell, Performed in the new Operas, Tragedys and Comedy's at the Theatre Royall . . . 1701. London: Sould by J. Walsh . . ., [1701?]. 151

(52) Purcell, Daniel. A Collection of New Songs . . . Compos'd by Mr. Daniel Purcell, Perform'd in the Revis'd Comedy call'd the Pilgrim, being the last Writeings of Mr. Dryden. 1700. London: Sould by J. Walsh . . ., n.d.

(53) Purcell, D[aniel]. The Judgment of Paris, A Pastoral Composed for the Music=Prize by Mr. D: Purcell. London: Printed for J. Walsh . . ., n.d. [Two sources for this are identical, viz. British Museum I. 325 and Hirsch II. 749, and thus have been catalogued under the same number.]

(54) Purcell, D[aniel]. to. D. Purcells Ayres in the Faithful Bride of Granada. [Royal College of Music xxix A. 12, ff. 33-34.

(55) Purcell, Daniel & Clark, [Jeremiah]. The Single Songs in the New Opera call'd. The Wbrld in the Moon Sett by to. Daniel Purcell, and to. Clark. London: Printed by J. Heptin­ stall for Henry Playford . . ., 1697.

(56) Purcell, Daniel. The Single Songs, With the Dialogue Sung in the New Opera, Call'd Brutus of Alba: or, Augusta's Triumph. Compos'd by Mr. Daniel Purcell. London: Printed by J. Heptinstall, for Henry Play­ ford . . . and Samuel Scott . . ., 1696.

(57) Purcell, Daniel. The Songs in Phaeton: or. The Fatal Divorce. Sett to Musick by Mr. Daniel Purcell. With An Addition of some Songs in the last New Play. London: Printed by J. Heptinstall, for Samuel Scott . . ., 1698.

(58) Purcell, Dan[iel]. Songs In The New Opera, Call'd the Grove or Love's Paradise, Com­ pos'd by Mr. Dan: Purcell. [London]: Sold by J. Walsh . . ., n.d.

(59) Musarum Brittanicanarum Thesaurus: or, A Choice Collection of English Songs, Dialogues, and Catches, for two, three, and Four Voices, in Score; taken from the most Eminent Masters. . . . Waltham: Collected, Printed, and Sold by William East, 1748. 152 (60) The Musical Miscellany? Being a Collection of Choice Songs . . ., By the most Eminent Masters. 6 vols. London: Printed by and for John Watts . . ., 1729-1731.

(61) [Overture and Aires for the Theatre. 4 vols. (Royal College of Music XXIV A. 11)].

(62) The Second Book of Theatre Music. Containing Plain & Easie Rules . . . for . . . ye Violin. Likewise all the New French Dances . . . With Variety of ye Newest Ayers, Song Tunes & Dances, Perform'd in ye late Operas at ye Theatres. . . . London: Printed for & sold by J: Walsh . . ., 1699.

(63) Sir Griffith Bovrdons Booke August ye 1st 1706 [British Museum D. 24].

(64) Songs In The New Opera Call‘d The World In The Moon [by Daniel Purcell and J. Clarke]. [London]: Sould by J. Walsh . . ., & J. Hare . . ., 1697.

(65) Thesaurus Musicus, A Collection of two, three, and four Part Songs . . . [and] Dialogues Set to musick by . . . Dr. Blow, H. Purcell, Handel, Dr. Green, David Purcell, Eccles, Weldon, Leveridge, Lampe, Carey etc. 2 vols. London: Printed for and sold by John Simpson . . ., n . d. (66) Thesaurus Musicus: Being A Collection of the Newest Songs Performed At His Majestie's Theatres? and at the Consort in Viller- Street in York-buildings and in Charles- Street Convent-Garden. 5 vols. London: Printed by J. Heptinstall for John Hudgebutt, and are to be sold by John Carr . . . and John Money . . . 1693-1696.

(67) Tulip, Timothy. The Merry Mountebank? or The Humourous Quack-Doctor: . . . a choice Collection of Old and New Songs. Vol. I. London: Printed by W. Pearson . . . for A. Holbecke . . ., F. Jefferis . . . and C. Pickman . . . 1732. 153 (68) Twelve [Instrumental] Airs [British Museum d.24; companion to Harmonia Anglicana, the bass part] .

(69) Twelve New Songs . . . compos'd by Dr. Blow, Dr. Turner, Mr. Nicola, Mr. Ralph Courtivill, Mr. Samuel Akeroyde, Mr. John Eccles, Mr. Daniel Purcell, Mr. John Barrett, Mr. Williams, Mr. John Church, and Mr. William Crofts . . . with Two New Dialogues, Set by Mr. Jer. Clark, Sung in the east Revived Play, Call'd, The Island Princess; Or, The Generous Portugueise. London: Printed by, and for William Pearson . . ., and sold by Mr. Playford . . ., Mr. Scott . . ., Mr. J. Hair. . . , Mr. Hudgebutt . . ., 1699.

(70) Vinculum Societatis, or The Tie of good Company. Being a choice Collection of the Newest Songs now in Use. 3 vols. London: Printed by F. Clark, T. Moore, and J. Heptinstall, for John Carr, and R. C. . . . Sold by John Carr . . . and Sam. Scott . . ., et al., 1687-1691.

(71) The Whole Volume Compleat Intitled The Monthly Masks of Vocal Musick Containing all the Choisest Songs by the Best Masters made for the Play-houses Publick Consorts . . . for the year 1704. London: Printed for & sould by J. Walsh . . ., n.d. 154 Achilles; or, Iphiqenia In Aulis Abel Boyer

Premiere; December, 1699

Morpheus thou gentle god of soft repose Daniel Purcell (#35, pp.[105-]; #36, pp.l06-) 155

All For The Better; or The Francis Manning Infallible Cure^

Premiere: November, 1702

Overture and Aires (#44, pp.13-14; Jeremiah Clarke #63, pp.26-27; #68, pp.25-26)

^Daniel Purcell is listed in the publication of the text as the composer of songs in the first and second acts. This music was not found. 156 Amalasont, Queen Of Ye Goths ; or, John Hughes Vice Destroys Itself

Premiere; 1696?^

Hence ye curst infernal train (#22, p.114) Daniel Purcell

In a grove's forsaken shade (#35, p.83; Daniel Purcell #36, p.80; #45, p.54)

1William Thomas Morgan, A Bibliography of British History 1700-1715, III (Bloomington: n.p., 1939), 471. 157 tintas John Oldmixon Premiere: 1697-98?

Cupid make your virgins tender (#33, p.142; Daniel Purcell #36, p.42; #41, VI, pp.16-17; #45, p.50; #47, March, pp.52-53) 158

The Bath; or. The Western Lass Thomas D'Urfey

Premiere: May 31, 1701

Lord1 what's come to my mother Jeremiah Clarke (#7, f.l27v; #27, p.289; #35, p.92; #36, p.92; #41, I, 156)

What beauty do I see (#41, I, pp.46-48) Samuel Akeroyde

Away ye brave fox-hunting race unknown (#41, II, pp.269-270, text only)

Where oxen do low (#26, VIII, p.63; Daniel Purcell #27, p.481; #41, I, pp.3-6) 159

The Beaux Stratagem George Farquhar

Premiere: March 8, 1707

The trifle (#27, p.47; #49, I, pp.20-22; Daniel Purcell #50, July, 1709, p.54; #60, IV, pp.100-101) 160

Brutus Of Alba; or, Augusta's Triumph George Powell

Premiere: October?, 1696

Cease Cynthia, cease your fruitless tears Daniel Purcell (#56, p.l)

Great queen of Hymen's hallowed fires Daniel Purcell (#56, p.5)

How happy am I the fair sex can defy Daniel Purcell (#56, p.3)

I courted and writt (#56, p.2) Daniel Purcell

If mortals laugh and sing (#56, p.8) Daniel Purcell

Let others boast of liberty (#56, p.7) Daniel Purcell

Tis vain to tell me I am deceived Daniel Purcell (#56, p.4) Why Cloe will you not perceive^ Daniel Purcell (#56, p.6)

Why dost thou fly me pretty maid Daniel Purcell (#56, pp.9-12)

^There is a different setting of this text by Rene Harris in #48, September, pp. 63-65. 161

Caligula John Crowne

Premiere: March?, 1698

Tho over all mankind (#35, pp.153-; Richard Leveridge #45, pp.86-87)

Beneath the covert of a grove (#37, p.25) Daniel Purcell

• 162

The Campaigners ; or. The Pleasant Thomas D'Urfey Adventures At Brussels

Premiere; June?, 1698

Jockey was a dowdy lad (#35, p.81? Jeremiah Clarke #57, p.16)

New reformation begins through the nation Henry Purcell (#32, p.58? #41, II, pp.44-45? (set to one of #57, p. 15) his tunes)

Cloris for once take my advice (#57, Daniel Purcell p.13)

My dear cockadoodle (#27, p.312? unknown #41, I, pp.308-309) Phyllis has such charming graces (#32, Daniel Purcell p.3? #33, p.138? #36, p.123? #45, p.52) 163

The Careless Husband Colley Cibber

Premiere: December 7, 1704

Sabina with an angel's face (#50, January- Daniel Purcell February, 1705, pp.[5-6]; #67, pp.32-36) 164

The Constant Couple; or, A Trip to the George Farquhar Jubilee

Premiere: November 28, 1699

Rondo (#23, pp.38-39) unknown

Poor Damon knock'd at Celias door Daniel Purcell (#35, p.125; #36, p.121; #45, p.53; #47, September-December, pp.183-185) 165

Cynthia and Endimion; o r . The Loves Thomas D'Urfey of the Deities

Premiere: December?, 1696

Overture (#18, pp.59-61) Daniel Purcell

Cupid's dance (#16, f.l9r) Daniel Purcell ?

[Symphony] (#16, f.32v) Daniel Purcell

[Aire] (#16, f.31r)^ Daniel Purcell

[Aire] #16, f.31r) Daniel Purcell

Appeare my darling Pleiades (#18, Daniel Purcell pp.62-63)

Behold the daughters of fam'd Atlas Daniel Purcell (#18, p.63)

Black and gloomy as the grave (#35, Daniel Purcell ? pp.25-)

Bright starr sweet Merope (#18, p.65) Daniel Purcell

I know and more am pleased (#18, Daniel Purcell pp.66-67)

Let nature then revill in joy (#18, Daniel Purcell pp.68-69) (

Night, deare promoter of lover's felicity Daniel Purcell (#18,, p.66)

No, thats not your business here Daniel Purcell (#18, pp.63-64)

The poor Endimion loved too well Daniel Purcell (#22, p.121)

^Neither this "Aire" nor the next one are specifically attributed to Cynthia. 166

Cynthia and Endimion . . . p.2

Then since the affaire is all dancing Daniel Purcell (#18, pp.64-65)

Twas when the sheep were shearing Daniel Purcell ? (#41, I, pp.318-320)

The weary, hot and amorous god of day Daniel Purcell (#18, pp.61-62) 167

The Empereur Of The Moon Mrs. Aphra Behn

Premiere; March, 1687; 1699

Dance^ (#70, II, 1688, p.27) unknown

A curse upon the faithless maid (#37, p.107) Daniel Purcell

All joy to mortals, joy and mirth Daniel Purcell ? (#41, VI, p.181)

^Published in 1688, this dance was probably for the premiere in 1687 and thus not by D. Purcell. 168

The Faithfull Bride of Granada William Taverner

Premiere: May?, 1704

Overture and Aires (#54, pp.33-34) Daniel Purcell

Aire

Aire

Minuett

Round O

Jigg

Aire 169

Farewell Folly; or. The Younger The Wiser Pierre Motteux

Premiere; January 18, 1705

Four Aires (#16, ff.32v-32r) Godfrey Finger

How happy he who weds a wife (#50, Daniel Purcell March, 1705, p.[3])

^The source has only "Farewell" to distinguish these aires, but it seems likely that they are for this play. 170

The Funeral; or. Grief A-la-Mode Richard Steele

Premiere: December?, 1701

Overture and Aires (#44, pp.4-6; #61, William Croft set no.11; #63, pp.14-16; #68, pp.14-16)

Slow Aire no.3 (#20, set XIV, no.7)

Jigg no.4 (#20, set XIV, no.9)

Aire no.6 (#20, set XIV, no.8)

Let not love on me bestow (#35, p.90; Daniel Purcell #36, p.91; #41, VI, pp.22-23)

On yonder bed supinely laid (#35, Daniel Purcell pp.[117-]; #36, pp.116-)

Ye minutes bring ye happy hours Daniel Purcell (#35, p.187; #36, p.185) 171

The Grove ; or. Love's Paradice John Oldmixon

Premiere; February 19, 1700

Overture and Aires (#15, f.34v treble; Daniel Purcell f.44v, bass)

Grave

Round 0 (#20, set XXII, no.10)

Aire

Aire (#20, set XLIII, no.6)

Aire

Aire

Chaconel (#15, f.33r, treble; f.43r, bass) Daniel Purcell

Symphony (#12, pp.1-2) Daniel Purcell

Symphony for flutes and hautbois Daniel Purcell (#12, pp.37-40)

Trumpet sonata (#12, pp.43-50) Daniel Purcell

For hautbois and flutes (#12, pp.53-55) Daniel Purcell

Sonata II (#12, pp.65-72) Daniel Purcell

Symphony (#12, p.78) Daniel Purcell

Symphony (#12, p.93) Daniel Purcell

Sonata II (#12, pp.106-109) Daniel Purcell

Symphony (#12, p.113) Daniel Purcell

Ritornell (#12, pp.115-116) Daniel Purcell

^This piece is not specifically attributed to The Grove. 172

The Grove . . . p.2

Amintors watchfull care maintains (#12, Daniel Purcell pp.10-13)

And you who reign with Pan below Daniel Purcell (#12, pp.81-84)

Appear old Hymen from thy cell Daniel Purcell (#12, pp.140-144)

At Pans dread command we leave Daniel Purcell (#12, pp.84-89)

Away these fairy charms (#12, pp.109-112) Daniel Purcell

By Eccho thus mock't (#12, pp.116-117) Daniel Purcell

Cease your am'rous pipes and flutes Daniel Purcell (#12, pp.40-43; #35, p.39; #36, p.37; #58, p.[5])

Cease your heavenly notes awhile Daniel Purcell (#12, pp.126-129)

Come all away you must not stay (#12, Daniel Purcell pp.3-7; #35, p.40; #58, p.[4])

The flocks and herds refus'd to graze Daniel Purcell (#12, pp.20-21)

For her we crowns of roses wear Daniel Purcell (#12, pp.22-26)

The force of youth and beauty (#12, Daniel Purcell pp.119-120)

Happy ever, happy we (#12, pp.123-124; Daniel Purcell #35, p.67; #36, p.75; #58, p.[2])

Happy mansions pleasant shades (#12, Daniel Purcell pp.8-10; #35, p.66; #36, p.74; #58, p.[6])

Hark what dreadful notes I hear (#12, Daniel Purcell pp.50-53) He only he that shou'd hear is deaf Daniel Purcell (#12, p.34) 173

The Grove . . . p.3

The hero his lauralls to love (#12, Daniel Purcell pp.156-157)

Hymen join you happy pair (#12, pp.150-154) Daniel Purcell

I know thee by thy hundred tongues Daniel Purcell (#12, pp.80-81)

In vain fair nymph (#12, pp.124-125) Daniel Purcell

In vain you tell me (#35, p.85; #36, Daniel Purcell p.84; #58, p.[l])

I've courted thee long (#12, pp.90-92) Daniel Purcell

Leave your mountain vale and home (#12, Daniel Purcell pp.7-8; #35, p.40; #58, p.[4])

Love descends at your complaint Daniel Purcell (#12, pp.118-119)

Love has blest you happy swain Daniel Purcell (#12, pp.155-156)

Love they say is my god (#12, pp.145-150) Daniel Purcell

Make hast happy minuts (#12, pp.130-138) Daniel Purcell

One of the gods who rule on earth Daniel Purcell (#12, pp.94-95)

Our work at an end (#12, pp.99-103) Daniel Purcell

Plenty mirth and gay delight (#8, ff.40v- Daniel Purcell 40r; #12, pp.104-106; #34, p.44; #35, p.126; #58, p.[10]; #59, p.25; #65, I, p.76)

Raise your notes and lift 'em high Daniel Purcell (#12, pp.161-174)

See the trembling sheep revive (#12, Daniel Purcell pp.55-57; #35, p.139; #58, p.[7])

These gentle murmurs suit bur shades Daniel Purcell (#12, pp.57-60) 174

The Grove . p.4

Thro wondering worlds I Cesars worth Daniel Purcell proclaim (#12, pp.73-77)

Thus loving and belov'd we live (#12, Daniel Purcell pp.24-26)

To her we flow'ry chapletts bring Daniel Purcell (#12, p.21)

To hill and dale I tell my care Daniel Purcell (#12, pp.28-34)

To love w e '1 lasting homage pay Daniel Purcell (#12, pp.157-160)

Underneath a gloomy shade (#12, Daniel Purcell pp.114-115; #35, p.166; #36, p.166; #58, p.[9])

Wee'l go to the cave (#12, pp.120-122) Daniel Purcell

What voice is this to me unknown Daniel Purcell (#12, pp.78-80)

When Venus deck'd with heavenly charms Daniel Purcell (#12, pp.14-19)

Where, where's my Pan (#12, pp.93-94; Daniel Purcell #33, p.[134]; #35, p.182; #36, p.181; #58, p.[3])

With pitty they inspire our maids Daniel Purcell (#12, pp.61-64)

Ye birds that in our forests sing Daniel Purcell (#12, pp.35-37; #35, p.190; #58, p.[8])

Ye men and maids who cut the eare (#12, Daniel Purcell pp.96-98; #36, p.181; #58, p.3) 175 The Humours of the Age Thomas Baker

Premiere: March 1, 1701

Overture and Aires (#61, set no.24) Godfrey Finger

Beneath a gloomy shade (#35, pp.22-; Daniel Purcell #36, pp.22-24; #42, pp.7-9; #51, pp.8-10) Fixt on ye fair Mirandas Eies (#35, Daniel Purcell p.48; #36, p.55; #51, p.l)

Tis done, the pointed arrows in my heart Daniel Purcell (#35, pp.159-; #42, pp.10-11; #51, pp.[2-3]) 176

Ibrahim, The Thirteenth Empereur of the Mrs. Mary Fix Turks

Premiere: May?, 1696

Fly from my sight (#33, pp.[56-57]; #41, Daniel Purcell I, p.236, text only) 177 The Inconstant; or. The Way To Win Him George Farquhar (also, Love's Contrivance)

Premiere: February?, 1702

Overture and Aires (#61, set no.20) Daniel Purcell Aire (#39, p.7)

Minuett (#39, p.7)

March (#39, p.6; #20, set LVI, no.8)

Hornpipe (#39, p.6; #20, set XLV, no.4)

Aire (#39, p.5)

Gavott (#39, p.5)

Aire

Minuett

Prithee Phillis tell me why^ (#29, p.352) Vanbrughe

Since Celia tis not in our power (#35, Daniel Purcell p.137; #36, p.134)

^This aire may or may not belong to this play. The only words given in the publication of the text are "Prithee Phillis" (V, 72.). 178

Indian Queen John Dryden and Robert Howard

Premiere: April?, 1695

Symphony (#6, f.69r; #18, pp.39-40) Daniel Purcell

Trumpet Aire (#6, f.77v; #18, pp.52-53) Daniel Purcell

Come all and sing great Hymens praise Daniel Purcell (#6, ff.70r-71r; #40, p.2)

Come all at my call (#6, ff.70v-70r; Daniel Purcell #18, pp.41-43; #40, pp.2-3)

Good people I 'de make you all bles'd Daniel Purcell (#6, f.72r; #18, p.45; #40, pp.4-5)

I'm glad I have met him (#6, ff.71r-72r; Daniel Purcell #18, pp.44-45; #40, pp.3-4)

The joys of wedlock soon are past (#6, Daniel Purcell ff.73r-76r; #18, pp.47-49; #40, pp.6-9)

Let loud renown with all her thousand Daniel Purcell (#6, ff.77r-80v; #18, pp.53-57; #40, p.13)

Make hast to put on love's chains (#6, Daniel Purcell ff.76v-76r; #18, pp.51-52; #40, pp.11—12)

My Honey, my Pugg (#6, ff.73v-73r; #18, Daniel Purcell pp.46-47; #40, pp.5-6)

Sound the trumpet, let love's subjects Daniel Purcell know (#6, ff.75v-76v; #18, pp.49-51; #40, pp.9-11)

To bless the geniall bed (#6, f.70v; Daniel Purcell #18, p.40; #40, p.l) 179

The Island Princess; or. The Generous Peter Motteux Portuguese

Premiere: November?, 1698

First musick (#1, f.lr; #16, f.34r) Jeremiah Clarke

First musick, second tune (#1, f.lr; Jeremiah Clarke #16, f.35v; #62, p."l")

Second musick (#1, f.2v; #16, f.35v; Jeremiah Clarke #62, p."i")

Minuet (#1, f.2v; #16, f.35r; #62, p."i") Jeremiah Clarke

Overture (#1, ff.2r-3v; #16, f.33v) Jeremiah Clarke

First act tune (#1, f.7v; #16, f.34r; Jeremiah Clarke #62, p."l") Second act symphony (#1, ff.l0r-12v) Jeremiah Clarke ?

Symphony (#1, f.l3r) Jeremiah Clarke ?

Entre (#1, f.20r; #62, p."f") Jeremiah Clarke ?

Dance (#1, f.21v; #62, p."b") Jeremiah Clarke ?

Second act tune (#1, f.21r; #62, p."a") Jeremiah Clarke

Third act tune (#1, f.26r; #16, f.36v; Jeremiah Clarke #62, p."m")

Fourth act tune (hautbois) (#1, f.35r) Jeremiah Clarke ?

Symphony of flat trumpets (#1, f.39r) Jeremiah Clarke ?

Fourth act tune (round, minuet) (#1, Jeremiah Clarke f.45r; #16, f.33r; #62, p."k")

Overture (#1, f.49r) Jeremiah Clarke Spring dance (#1, f.56v; #16, f.34v; Jeremiah Clarke #62, p."f") Summer dance (#1, f.58v; #62, p."c") Jeremiah Clarke

Autumn dance (#1, f.60r; #23, pp.30-31; Jeremiah Clarke #62, p."c") 180

The Island Princess . . . p.2

Winter dance (#1, ff.62v-62r; #62, p."g") Jeremiah Clarke

Grand dance (#1, ff.64r-65v; #62, p."e") Jeremiah Clarke

Sebell^ (#16, f.33r; #62, p."d") Jeremiah Clarke

Come all, let soft again your heart engage Jeremiah Clarke (#1, 63v)

Hail god of desire (#1, ff.63r-64v) Jeremiah Clarke

Hold good Mr. Fumble (#1, ff.60r-61r) Jeremiah Clarke

Let ye young take ye young (#1, Jeremiah Clarke ff.61r-62v)

Love bloom in our Spring (#1, f.65v) Jeremiah Clarke

Mourn drooping seat of pleasures (#1, Jeremiah Clarke ff.50v-51v)

Must I a girl forever be (#1, ff.54v-55r; Jeremiah Clarke #69, pp.13-16)

Now to ye dry wooers (#35, p.109) Jeremiah Clarke

Oh my poor husband (#1, ff.58r-60v; Jeremiah Clarke #27, pp.341-; #35, pp.[120-]; #36, pp.118-,• #69, pp.17-20)

Rouze ye tuneful sons of art (#1, Jeremiah Clarke ff.52v-53r)

Tis sultry weather pretty maid (#1, Jeremiah Clarke ff.56v-58v; #35, pp.[160-]; #36, pp.161-)

The actual placement of this "Sebell" in the score is not known. Therefore, it has been placed last in this list. 181

The Island Princess . p.3

Hold, hold John (#1, ff.28r-31v; Richard Leveridge #27, pp.188-; #35, pp.70-; #36, pp.72-; #65, I, pp.32-34)

Let soft desires your heart engage Richard Leveridge (#35, p.96; #36, p.94; #45, p.83)

Oh cease, urge no more (#1, f.41r) Richard Leveridge

You've been with dull prologues Richard Leveridge (#33, p.100; #35, p.191; #62, p."r")

All the pleasures Himen brings (#1, Daniel Purcell f.l7v; #35, p.71; #36, p.73)

Beware ten thousand ills I see (#1, Daniel Purcell ff.42r-43v)

Cease ye rovers, cease to range (#1, Daniel Purcell ff.l5r-16r; #8, ff.36v-37v; #14, f.29v; #25, I, p.190; #26, II, p.33; #34, p.10; #43, II, p.45; #50, September, 1710, p.17; #59, pp.12-13; #65, I, p.73)

Change may raise a wanton fire (#1, Daniel Purcell ff.14r-15v)

Happy he who wisely chose (#1, Daniel Purcell ff.l3r-14v)

Hast to ye gods due vengence give Daniel Purcell (#1, ff.42v-44r)

Hear gentle moon (#1, f.36r) Daniel Purcell

Heare thou by whom the rattling thunders Daniel Purcell (#1, ff.35r-36v)

Heare ye friendly earthly powrs (#1, Daniel Purcell ff.37v-38v)

Infernall powrs, grimfull sprights Daniel Purcell (#1, ff.39r-40v; #36, p.132) 182

The Island Princess . . . p.4

The jolly swains that corn's roving Daniel Purcell (#1, ff.l7r-18r; #35, p.156; #36, p.147; #45, p.49)

Lovely charmer, dearest creature (#22, Daniel Purcell p.60; #23, pp.90-91; #27, p.272; #35, p.94; #36, p.93; #45, p.47; #62, p."q"; #69, p.12)

Love's flame divinely burn (#1, ff.l8r-20v) Daniel Purcell

O skies, O sea, O earth (#1, ff.40r-41v) Daniel Purcell

Rouse ye gods of the main (#1, ff.38v-39r; Daniel Purcell #36, pp.131-132)

This glorious day let pleasure flow Daniel Purcell (#1, ff.l2r-13v) 183

The Judgment of Paris William Congreve

Premiere: April 11, 1700^

Symphony (#4, ff.2r-4r; #19, pp.257-263; Daniel Purcell #53, pp.1-6)

Symphony for Paris (#4, f.lOr; #19, Daniel Purcell pp.273-274; #53, p.16)

Symphony for Juno (#4, f.l5r; #19, Daniel Purcell pp.282-283; #53, p.24)

Trumpet sonata for Pallas (#4, Daniel Purcell ff.l6r-18r; #19, pp.284-287; #53, pp.26-30)

Symphony of all (#4, ff.22r-23r; #19, Daniel Purcell p.295; #53, p.37)

Symphony (#4, f.29r; #19, p.308; Daniel Purcell #53, p.47)

Symphony (#4, ff.32r-33r; #19, Daniel Purcell pp.312-316; #53, pp.51-53)

Awake thy spirit raise (#4, ff.28r-29r; Daniel Purcell #19, pp.306-307; #53, pp.46-47)

Distracted I turn (#4, ff.23r-24r; #19, Daniel Purcell pp.295-297; #53, p.38)

Far from thee be anxious care (#4, Daniel Purcell ff.37r-38r; #19, p.327; #38, p.22; #45, p.43; #53, p.61)

Fear not mortal, none shall harm thee Daniel Purcell (#4, ff.l2r-14r; #19, pp.278-280; #53, pp.20-22)

Forbear 0 goddess of desire (#45, p.38) Daniel Purcell

From high Olympus (#4, ff.4r-5r; #19, Daniel Purcell pp.263-266; #53, pp.7-9)

^John Cunyus Hodges (ed.), William Congreve, Letters & Documents (New York: Harcourt, Brace & World, Inc., 1964), 21. 184 The Judgment . . . p.2

Gentle shepherd if my pleading (#4, Daniel Purcell f.41r; #19, pp.332-333; #45, p.45; #53, p.66)

Happy thou of human race (#4, ff.l4r-15r; Daniel Purcell #19, pp.281-282; #53, p.23)

Hark the glorious voice of war (#4, Daniel Purcell ff.29r-31r; #19, pp.308-312; #53, pp.48-50)

Help me Hermes or I die (#2, pp.98-99; Daniel Purcell #4, ff.llr-12r; #19, pp.275-277; #45, p.41; #53, pp.17-19)

Hither all ye graces (#4, ff,44r-54r; Daniel Purcell #19, pp.337-350; #53, pp.70-82)

Hither turn thee gentle swain (#4, Daniel Purcell ff.20r-22r; #19, pp.289-294; #45, p.42; #53, pp.33-37)

I yield, 0 take the prize (#4, ff.41r-43r; Daniel Purcell #19, pp.333-336; #53, pp.67-69)

Let ambition fire thy mind (#4, ff.24r-25r, Daniel Purcell 26r-28r; #19, pp.297-299, 303-305; #53, pp.39-40, 44-45)

Let not toyIs of empire fright (#4, Daniel Purcell ff.25r-26r; #19, pp.300-303; #53, pp.41-43)

Nature fram'd thee sure for loving (#4, Daniel Purcell ff.39r-40r; #19, pp.330-332; #45, pp.44-45; #53, pp.64-65)

0 how glorious tis to see (#4, ff.35r-36r; Daniel Purcell #19, pp.320-323; #53, pp.56-57)

0 ravishing delight (#2, p.98; #4, Daniel Purcell ff.lOr-llr; #19, pp.274-275; #45, p.39; #53, pp.16-17)

0 what joys does conquest yield (#4, Daniel Purcell ff.34r-35r; #19, pp.316-319; #53, pp.54-55) 185

The Judgment p.3

Oh Hermes, I thy godhead know (#4, Daniel Purcell ff.6r-7r; #19, pp.266-268; #53, pp.10-11)

One only joy mankind can know (#4, Daniel Purcell ff.38r-39r; #19, pp.327-329; #38, pp.22-24; #53, pp.62-63)

Saturnia wife of thundring Jove (#4, f.l6r; Daniel Purcell #19, pp.283-284; #53, p.25)

Say, wherefore dost thou seek (#4, f.7r; Daniel Purcell #19, p.269; #53, p.12)

Stay lovely youth delay thy choice (#4, Daniel Purcell ff.36r-37r; #19, pp.323-326; #45, p.37; #53, pp.58-60)

This radiant fruit behold (#4, ff.8r-9r; Daniel Purcell #19, pp.270-273; #53, pp.12-15)

This way mortal bend thy eyes (#4, f.l9r; Daniel Purcell #19, pp.287-289; #38, p.19; #45, p.40; #53, pp.31-32) 186

The Lost Lover; or. The Jealous Husband Mrs. Mary Manly

Premiere: March, 1696

Second Musick (#16, f.22r) Lord Byron

[Aire] (#16, f.22r) Lord Byron

Second and third act tunes (#16, f.23v) Lord Byron

If you men like turtles (#5, f.l42v) Daniel Purcell 187

Love Makes A Man; or. The Fops Fortune Colley Cibber

Premiere: December 9, 1700

Overture and Aires (#44, pp.[23-24]; Godfrey Finger #61, set no.10; #63, pp.10-11; #68, pp.10-11)

Overture (#20, set XIV, no.l)

Jig (#20, set LVII, no.9)

Slow Aire (#20, set LVII, no.6)

Courant (#20, set LVII, no.7)

Round O (#20, set LVII, no.8)

Prelude (#20, set XIV, no.5)

Minuet (#20, set XIV, no.6)

Aire (#20, set IX, no.11)

Jigg (#20, set IX, no.12)

For rurall and sincerer joys (#35, Daniel Purcell pp.[55-]; #36, pp.60-)

Ofelia's aire, her meen, her face Daniel Purcell (#35, pp.[118-]; #36, p.Ill)

Thou gay, thou cruel maid (#35, p.158) Daniel Purcell 188

Loves Last Shift; or, The Fool In Fashion Colley Cibber

Premiere: January?, 1596

Overture and Aires (#15, ff.l5r-16v, treble; John Barret ff.l7r-18v, bass)

First, second, third, and fourth Lessons Peasable (#16, ff.6r-7v)

Dance tune (#11, item no.11 from the back) Peasable ?

Go home unhappy wretch (#66, V, pp.8-10) Franks

When lovesick Mars ye god of war Richard Leveridge (#35, PP.173-)

What ungrateful devil mov'd you Daniel Purcell (#22, p.122; #40, p.17; #41, III, p.302; #66, V, p.36) 189

Macbeth William Davenant Premiere: 1697? January 1, 1704

Cease gentle swain (#26, II, p.24; Daniel Purcell #71, February, p.[3])

The date of Daniel's contribution is uncertain, but since the song was first published in February of 1704, the January date seems the most probable. 190

Massaniello, The Famous History Of The Thomas D'Urfey Rise And Fall Of

Premiere: May ?, 1699

Of all the worlds enjoyments (#27, Richard Leveridge p.353; #29, p.218; #35, p.115; #36, p.115; #41, I, pp.267-269)

The devil has pull'd off his jacket Samuel Akeroyd (#22, p.114; #41, V, p.278)

From azure plains (#41, I, p.113, unknown text only)

He led her by the milk white hand Samuel Akeroyde (#35, p.72)

Tho mighty fate all must obey (#41, I, unknown pp.113-114, text only)

Glory our martial1 paradise (#35, pp.56-) Daniel Purcell

Whilst wretched fools sneak up and down Daniel Purcell (#35, pp.[185-]; #36, pp.l83-; #41, I, pp.270-275)

Young Philander woo'd me long (#27, Daniel Purcell p.534; #29, p.329; #41, I, pp.265-266) 191

The Modish Husband William Burnaby

Premiere: January?, 1702

See where she lyes (#46, October- Daniel Purcell December, pp.[54-55]) 192

The Northern Lass Richard Brome Premiere: April 4, 1662 1699?

Overture and Aires (#63> pp.48-49; Daniel Purcell #68, pp.47-48)

Aire Aire

Jigg (#20, set XLVIII, no.10)

Aire

Gavott

Scotch Aire

Jigg 193 Orlando Furioso unknown

Premiere; 1705?^

Pulver, in his Biographical Dictionary, p. 377, states that this opera was composed for the opening of the Haymarket Theatre. That it was not performed on opening night seems certain (see Avery, Part 2, I, 91). That it may have been performed during the first season is possible, but neither explicit information stating this nor the music itself has been found. 194

Orpheus and Euridice, The Masque Of^ John Dennis

Premiere: unknown

The text of the Masque was published in the Muses Mercury for the month of February, 1707, pp. 29-34. According to this same publication. I, #2, p. 35, the com­ poser was Daniel Purcell. No music for the Masque has been found. 195

The Patriot; or. The Italian Conspiracy Charles Gildon

Premiere: December?, 1702

Overture and Aires (#44, pp.[15-16]; Daniel Purcell #63, pp.28-23; #68, pp.27-28)

Chaccone Aire

Aire (#20, set XXI, no.6)

Round O

Aire

Boree (#20, set XXIV, no.10)

Slow Aire 196 Pausanius Richard Norton

Premiere: April?, 1695

Symphony (#18, p.71) Daniel Purcell

Encrease our traffick and our gain Daniel Purcell (#18, pp.76-79)

Heare mighty Neptune (#18, pp.72, 73-75) Daniel Purcell

Let the billows ceas to roar (#18, p.73) Daniel Purcell

Prepare a solemn sacrifice (#18, p.72) Daniel Purcell

Whilst blustring winds (#18, p.76) Daniel Purcell 197

Phaeton; or. The Fatal Divorce Charles Gildon

Premiere : March?, 1698

Symphony (#57, p .1) Daniel Purcell

Come all ye shepherds (#57, p.2) Daniel Purcell

Fond shepherd, prithee cease Daniel Purcell (#57, pp.7-11)

Let ev'ry shepherd bring his lass Daniel Purcell (#57, p.3)

Life is but a little span (#57, pp.4-5) Daniel Purcell

Look down bright god of day (#57, p.14) Daniel Purcell

0 Hymen must we always see (#24, pp.10-11) Daniel Purcell

Oh fie, you must comply (#57, pp.6-7) Daniel Purcell

To passive years resign your pining Daniel Purcell (#57, pp.11-12) 198

The Pilgrim John Vanbrugh Premiere: April 29, 1700

Overture and Aires (#20, set LI, nos. 1-8, John Barret Aire no.7 not included in this collec­ tion; #44, pp.[20-22]; #63, pp.23-25; #68, pp.23-24)

Round O (Aire no.8) (#23, pp.40-41)

Minuet (Aire no.9) (#23, p.41)

Calms appear when storms are past Godfrey Finger (#35, p.35; #36, p.38)

Chronos, mend thy pace (#3, ff.194r-195v; Daniel Purcell #33, p.154; #48, May, pp.31-32; #52, p.29)

Hal well hast thou done (#3, ff.196r-198v; Daniel Purcell #52, p.31) Since Momus comes to laugh (#3, ff.l98v- Daniel Purcell 198r; #52, p.33)

Then our age was in 'ts prime (#3, Daniel Purcell ff.204v-206v)

Thou goddess of the silver bow Daniel Purcell (#17, f.25v)

Weary of my weight (#3, ff.195v-196r; Daniel Purcell #17, ff.23r-24r) With horns and with hounds (#3, ff.l98r- Daniel Purcell 201v; #17, ff.25v-29v; #35, p.172; #36, p.177, #52, p.35)

With shooting and hooting (#3, Daniel Purcell ff.201r-204v) 199

Psyche Thomas Shadwell

Premiere: February 27, 1675 April 8, 1697

Third Act Tune and Minuet (#16, f.l2v) Morgan

Thus to a lovely youthful swain Daniel Purcell (#28, p.20; #37, p.103) 2 0 0

The Reform'd Wife; or. The Lady's Cure William Burnaby Premiere: March?, 1700

Corinna with a gracefull aire Daniel Purcell (#35, p.38; #36, p.40)

Fond woman with mistaken art Daniel Purcell (#35, p.50; #36, p.57)

Sabina has a thousand charms Daniel Purcell (#45, p.48) 2 0 1

The Relapse; or. Virtue in Danger John Vanbrugh Premiere: November 21, 1696

Overture and Aires (#31, pp.[13-14]) Daniel Purcell Slow aire

Hornpipe (#20, set XV, no.15)

Aire

Brisk aire (#20, set XV, no.11)

Slow aire

Brisk aire

Slow aire

Gavott

I smile at love and all its arts Daniel Purcell ? (#50, September, 1710, p.48) 2 0 2

The Rival Queens ; or. The Death Of Nathaniel Lee Alexander The Great

Premiere: March 17, 1677 February 24, 1698

Praeludium (#19, pp.99-102) Godfrey Finger

Symphony (#19, p.115) Godfrey Finger

Symphony (#19, p.143) Godfrey Finger

Symphony (#19, p.146) Godfrey Finger

Symphony for four flutes Godfrey Finger (#19, pp.157-158)

Symphony (#9, f.37v) unknown

Symphony (#13, ff.[lr-4v]; #19, Daniel Purcell pp.118-122)

Symphony (#19, p.150) Daniel Purcell

Symphony (#19, pp.152-153) Daniel Purcell

Cease you sighing virgins (#19, Godfrey Finger pp.109-110)

Fly to our royal masters aid (#19, Godfrey Finger pp.144-145)

He comes your homage pay (#19, Godfrey Finger pp.115-117)

The mighty blessing (#19, p.113) Godfrey Finger Oh Morpheus, gentle god (#19, pp.158-165) Godfrey Finger

Our hero comes (#19, pp.104-108) Godfrey Finger

Preserve you powers above (#19, p.114) Godfrey Finger

Swift as the sun (#19, pp.146-149) Godfrey Finger 203

The Rival Queens . . . p.2

Then keep not your charms (#19, Godfrey Finger pp.110-112)

You noble warriors all (#19, p.103) Godfrey Finger

An universall smile (#13, ff.[8r-12v]; Daniel Purcell #19, pp.129-133)

Awake then Statira (#19, pp.154-157) Daniel Purcell

Charming, majestick, but not proud Daniel Purcell (#13, ff.[14v-15r]; #19, pp.137-139)

Is innocence so void of cares (#19, Daniel Purcell pp.150-152; #35, p.86; #42, p.13; #51, p.6)

Now sooth our joy (#13, ff.[12v-14v]; Daniel Purcell #19, pp.133-136)

Phillis talk no more of passion (#35, Daniel Purcell p.122; #36, p.122)

See the virtues, see the graces smile Daniel Purcell ( # 1 3 , ff.[16V-17V]; #19, pp.1 4 0 - 1 4 2 )

She walks as she dreams (#19, pp.153-154; Daniel Purcell #35, p.87)

Welcome glorious day (#13, ff.[4v-7v]; Daniel Purcell #19, pp.123-126)

Welcome happy day (#13, ff.[7v-8r, Daniel Purcell 17v-18r]; #19, pp.127-128) 204

The Royal Convert Nicholas Rowe

Premiere: November 25, 1707

All dismal sounds (#10, f.57r) Daniel Purcell

While thus we bow (#10, f.56r) Daniel Purcell

You who at the altar stand (#10, f.57v) Daniel Purcell 205

Sauny The Scot; or. The Taming The Shrew John Lacy

Premiere: 1697?

Overture and Aires (#9, ff.104r-105v) unknown

Twas in the month of May (#27, p.443; Daniel Purcell #30, II, p.22, III, p.22; #33, p.15; #35, p.157; #36, p.150) 206

The Spanish Wives Mary Fix

Premiere; August?, 1696

Dance (#16, f.20v) Peasable ?

Four Aires (#16, ff.39r-40v) Peasable

Alas 1 when charming Sylvias gone Daniel Purcell (#45, p.51) 207

The Tender Husband; or. The Accomplished Richard Steele Fools

Premiere; April 23, 1705

While gentle Parthenissa walks Daniel Purcell (#2, pp.104-105; #26, VIII, p.61; #50, April, 1705, p.[1])

Why Belvidera, tell me why (#50, Daniel Purcell May, 1705, p.[2]) 208

The Triumphs of Virtue unknown

Premiere: February?, 1697

I'll sing you a song (#41, IV, p.213) Daniel Purcell ?

So fair young Celia's charms^ Daniel Purcell (#45, p.46)

^Publication of text gives "So bright young . . 209

The Unhappy Conqueror; or, Vertue Rewarded unknown

Premiere ; unknown

Olinda turne and though thy eyes Daniel Purcell (#36, p.114) 2 1 0

The Unhappy Penitent Catharine Trotter

Premiere: February 4, 1701

Overture and Aires (#44, pp.11-13; #61, * Daniel Purcell set no.9; #63, pp.5-7; #68, pp.5-7)

Aire

Aire

Bore

Slow Aire

Aire

Hornpipe

Chacone 2 1 1

The World In The Moon Elkanah Settle

Premiere: June, 1697

Dance of the Swans (#7, ff.120v-120r) Jeremiah Clarke

Dance for Green Men (#7, ff.121v-121r) Jeremiah Clarke

Symphony 4th Act (#7, f.l22v) Daniel Purcell ?

Divine Astrea hither flew (#7, Jeremiah Clarke ff.ll3v-114r, 131v; #35, p.43; #36, p.47; #55, p.6; #64, p.[4])

I 'se no more to shady coverts (#7, Jeremiah Clarke f.l31r; #30, III, p.13; #35, p.84; #64, p.[2])

Smile then with a beam devine Jeremiah Clarke (#55, p.3; #64, p.[l])

Soft peace on earth (#7, ff.116r-117v) Jeremiah Clarke

Sound the trumpet, sound fair Cynthia's Jeremiah Clarke name (#7, ff.ll4r-116v)

Tempest rattle, blood and battle Jeremiah Clarke (#7, ff.ll9v-120v)

We know no discords (#7, ff.117v-118v) Jeremiah Clarke

Whilst thus our calmer pleasures flow Jeremiah Clarke (#7, ff.ll8v-118r; #64, p.[7])

Within this happy world above Jeremiah Clarke (#7, ff.l09r-112r)

And now within her smiling sphere Daniel Purcell (#37, p.59) Come all and join (#37, p.80) Daniel Purcell

Come my dear love (#7, ff.124v-126r) Daniel Purcell ? 2 1 2

The World . . . p.2

Come Strephon, Phillis (#37, p.98; #55, p.l) Daniel Purcell

Let the blushing (#7, f.l22r) Daniel Purcell ?

See in the smiling month of May (#37, Daniel Purcell p.93; #64, p.[5])

Then come kind Damon (#41, VI, pp.323-324; Daniel Purcell #55, p.2; #64, p. [3])

To Cinthia then our homage pay (#35, Daniel Purcell p.149; #36, p.157; #37, p.82; #64, p.[6])

The true joys of life (#7, ff.l23v-123r) Daniel Purcell ?

Ye nymphs of the plain (#7, ff.I22v-122r) Daniel Purcell ?

Young Strephon he has woo'd me^ Daniel Purcell (#41, VI, pp.240-241; #55, p.7)

Young Strephon met me the other day Daniel Purcell (#55, pp.4-6)

^This song is incorrectly ascribed to Henry Purcell in source #41. 213

The Younger Brother; or. The Amorous Mrs. Aphra Behn. Jilt

Premiere; February?, 1696

Overture and Aires (#16, ff.7r-9r) Morgan

What life can compare with the jolly town Daniel Purcell rakes (#22, p.100; #27, p.479; #33, p.88; #41, V, pp.123-125) Addenda^

Pour Aires (#21, ff.5v, llv-llr)

Aire (2nd treble)

[Minuet]

Round O

March

Accept Maria of a heart (#33, pp.24-; #71, October, pp.1-2)

Belinda's black commanding eye (#50, December, 1707, pp.[1-2]) Celestial harmony is in her tongue (#33, p.67)

Pair Celia's charms the other day (#71, May, pp.3-4)

The happy page, the lovely boy (#37, p.27)

In a cool refreshing shade (#49, I, pp.123-126; #71, September, p.l)

In gazing on the once lov'd swain (#47, May, pp.98-102)

In vain are all your arts to woe me (#50, March, 1707, p. [4])

Jolly Bacchus I love (#26, IV, p.88; #27, p.237; #50, July, 1718, p.151) Mezena does my heart inspire (#35, pp.[103-]; #36, pp.l03-)

Oh why Olinda, prethee why (#47, January, pp.11-13)

^All compositions in this list were composed by Daniel Purcell. They are in all probability theatre pieces, either as parts of plays as yet unidentified, or as undis­ closed additions to plays. 214 215

Addenda, p.2

Proud Phoebus now thy triumphs boast (#50, April, 1706, p. [7])

See Pastorella, see the plains (#27, p.401; #50, July, [1717?], p.95)

So fair young Celia does appear (#2, p.61)

Tis vain to fly (#66, V, pp.2-3)

Trust not to the smiles of women (#47, January, p.3)

Venus has left her Grecian Isles (#71, July, pp.1-2)

Wanton Cupids cease to hover^ (#27, p.507; #50, August, 1718, p.158; #60, VI, pp.90-91)

We with coldness and disdain (#35, p.181)

What garrs the foulish mayde (#26, VIII, p.78; #30, III, p.25)

When Daphne first her shepherd saw (#35, pp.[183-]; #36, pp.179-)

Whilst silently I lov'd (#48, August, pp.52-54)

Who knocks at my heart (#28, p.21)

Why should Aurelia sleep (#26, VIII, p.33; #29, p.86)

^The setting in the last of these three sources is different from the other two, but both are ascribed to Daniel Purcell. BIBLIOGRAPHY

Manuscripts and Printed Music^

British Museum

Add. 17841. Sacred music, by early English composers.

Add. 17853. [Instrumental pieces, songs, anthems etc.].

Add. 30839. Collection of . . . compositions— original and otherwise— for Flute, chiefly by anonymous composers. [Companion to B.M. Add. 39566 and 39567]. Add. MS 30934. Odes in full score.

Add. 31445. Anthems, some of them with instrumental symphonies, in score.

Add. 31461. Anthems, mostly with a figured bass, in score.

Add. 31466. Sixty Six Solos or Sonatas For A Violin, Base Violin, Harpsichord. Composed by Several Eminent Masters.

Add. 33287. Birthday Odes, New Year's Songs, Welcome Songs, Odes to St. Cecilia, etc., by Henry Purcell and Dr. John Blow, 1681-7. . . .

Add. 39566. Incidental music, sonatas, etc., arranged in sets or suites for wind instruments (chiefly flutes) and strings, in parts, by Paisible, Colasse, Tollett, Morgan, Purcell, Finger, Corelli, and Clerke (Jeremiah Clarke ?). Tenor part.

^See Appendix C for sources of theatre music.

216 217

Add. 39557. Incidental music, sonatas, etc., arranged in sets or suites for wind instruments (chiefly flutes) and strings, in parts, by Paisible, Colasse, Tollett, Morgan, Purcell, Finger, Corelli, and Clerke (Jeremiah Clarke?). Bass part.

Add. 39864. Lists of the choirs of Westminster Abbey and the Chapel Royal, at the Coronation of James II, 1685.

Edgerton MS 2159. [Section 8 of Original letters, etc., chiefly of, or relating to, composers, musicians, and singers, 1578-1860: Bills for music, proper­ ties, etc., at Drury Lane theatre; 9 January, 1713, 4-9 March 1716-17, signed by Colley Cibber, Robert Wilks and Barton Booth.]

Harley 1911. Minutes of the meetings of the "Corporacion for regulateing the Art and science of Musique," commonly known as the Corporation of Musicians.

Bodleian Library

MS Mus. d. 226. [Anthems by Daniel Purcell].

Gresham

[No MS number given] St. Caecilias Song For the Year 1698 By Mr. Dan. Purcell.

St. Michaels College

Tenbury MS 310. ff. 141r-157r. An Anthem sung before ye sons of the Clergy. A.D. 1709. December 6.

Tenbury MS 1175 (pp. 1-21). The Duke of Glocester's Birthday Musick [Daniel] Purcell.

Tenbury MS 1314. Four Sonatas by Daniel Purcell. 218

The Banquet of Musick; or, A Collection of the newest and best Songs sung at Court, and at Public Theatres. 6 vols. Savoy: Printed by E. Jones, for Henry Play- ford, . . ., 1688-1692. Comes Amoris; or the Companion of Love. Being a Choice Collection of the Newest Songs now in Use. 5 vols. London: Printed by Nat. Thompson for John Carr and Sam. Scott, . . . sold by John Carr . . . 1687-1694.

Finger, G[odfrey] and Purcell, D[aniel]. Six Sonatas or Solos for the Flute with a Through Bass for the Harpsicord Compos'd by Mr. G. Finger and Mr. D. Purcell. London: Printed for J. Walsh . . . and P. Randall . . . and J. Hare . . ., n.d.

Harmonia Sacra; or. Divine Hymns and Dialogues. . . . Savoy: Printed by Edward Jones for Henry Playford . . ., 1688.

Harmonia Sacra; or. Divine Hymns and Dialogues. Vol. II. Savoy: Printed by Edward Jones, for Henry Playford . . ., 1693. Harmonia Sacra: or. Divine Hymns and Dialogues, . . . Vol. I. 2nd ed. London: Printed by William Pearson for Henry Playford . . . and John Sprint . . ., 1703.

Harmonia Sacra: or. Divine Hymns and Dialogues. . . . 2 vols. London: Printed by William Pearson, for S. H. and sold by John Young . . ., 1714.

Harmonia Sacra: or. Divine Hymns and Dialogues. . . . 2 vols. London: Printed by William Pearson, for S. H. and sold by John Young . . ., 1726.

The Harpsicord Master Improved. Containing the most Perfect Rules & Easiest Directions on 5 lines For Learners with A Choice Collection of the Newest & most air'y Lessons. With Variety of Passages by Mr. Babel. To which is added A Choice Collection of Psalm Tunes As they Were Play'd with their Interludes by Mr. Daniel Purcell. London: Printed by & for Daniel Wright . . . & John Young . . ., Sold by B. Cooke . . ., n.d. 219

The Modern Musick-Master; or. The Universal Musician, Containing an Introduction to Singing . . ., Direc­ tions for playing on the Flute . . ., German Flute . . ., Hautboy . . ., Violin . . ., Harpsichord . . . and the Organ . . . In which is included A Large Collection of Airs, and Lessons . . . With A Brief History of Musick. . . . To which is Added a Musical Dictionary. . . . London: Printing Office . . ., 1 7 3 1 .

The Monthly Masque of Vocal Musick; or a Collection of New Songs and Airs; In English & Italian, . . . For the Month of August, 1 7 2 4 . London: Printed for and Sold by J. Walsh . . . and John & Joseph Hare . . ., [ 1 7 2 4 ] .

Purcell, Daniel. A Choice Collection of Airs or Arietts for two Flutes with the Overture of Camilla & Arsinoe, also Arietts & Duets in ye Opera of Thom- qris . . . ^ which is added a New Sonata for two Flutes. Compos'd, by Mr. Daniel Purcell. London: Printed for J. Walsh . . . and J. Hare . . ., n.d.

______. The Psalms Set full for the Organ or Harpsichord . . .; as also with their Interludes of great Variety by Mr: Daniel Purcell. London; Printed for J. Walsh . . ., n.d.

Six Cantatas For a Voice, with a Through Bass, two of which are accompanied with a Violin; Compos'd after the Italian Manner by Mr. Daniel Purcell. [London]: Printed for J. Cullen . . ., n.d.

Purcell, Dan[iel]. Six Sonatas. Three for two Flutes & a Bass and three Solos for a Flute and a Bass, compos'd by Mr. Dan: Purcell. London: Printed for J. Walsh . . . & J. Hare . . ., n.d.

The Second Part of The Division Flute, containing the Newest Divisions upon the Choisest Grounds for the Flute as also Several Excellent Preludes, Chacon's and Cibells by the best Masters. London: Printed for J. Walsh . . . and J. Hare . . . and P. Randall . . ., n . d. 2 2 0

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Babitz, Sol. "A Problem Of Rhythm In Baroque Music," Musical Quarterly. XXXVIII (1952), 533-565.

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"The English Symphonists Of The 18th Century," Proceedings of The Royal Musical Assn., LXXVIII (1951-1952), 31-51.

"Some New Facts About the Trumpet Voluntary," The Musical Times, XCIV (September, 1953), 401-403.

Dart, Thurston. "The Cibell," Revue Beige de Musicologie, VI, fasc. I (1952), 24-30. 231

Dart, Thurston. "Purcell's Chamber Music," Proceedings of Royal Music Assn.. LXXXV (1958-1959), 81-93.

______. "Purcell's Harpsichord Music," The Musical Times. C (June, 1959), 324-325.

"Richard Motley, Dancing Master," Music Review, XXV (1964), 96-99.

Dent, E. J. "Italian Opera In London," Proceedings Of The Royal Musical Assn., LXXI (1944-1945), 19-42.

Dolmetsch, Carl. "Recorder and German Flute during the 17th and 18th Centuries," Proceedings of The Royal Musical Assn.. LXXXIII (1956-1957), 49-63.

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Ford, wyn K. "The Chapel Royal at the Restoration," Monthly Musical Record, XC (May-June, 1960), 99-106.

"The Chapel Royal In The Time of Purcell," The Musical Times, C (November, 1959), 592-593.

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"Musicians At James II's Coronation," Music and Letters. XXXII (1951), 103-114.

. "A Seventeenth-century Oboe Consort," The Galpin Society Journal, X (May, 1957), 60-62.

. "Two Oxford Trumpets," The Galpin Society Journal, XVI (May, 1963), 49-62. "William Bull and the English Baroque Trumpet," The Galpin Society Journal, XV (March, 1962), 18-24.

Harbage, Alfred. "Elizabethan and Seventeenth-Century Play Manuscripts," Publications of The Modern Language Assn.. L (1935), 687-699. 232 Harbage, Alfred. "Elizabethan and Seventeenth-Century Play Manuscripts: Addenda," Publications of The Modern Language Assn., LII (1937), 905-907.

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Jackson, Allan S. "Restoration Scenery 1656-1680," Restoration and 18th Century Theatre Research, III, #2 (November, 1964), 25-38.

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Langwill, Lyndesay. "London Wind-Instrument Makers of the Seventeenth and Eighteenth Centuries," Music Review, VII (1946), 88-102.

Leacroft, Richard. "Wren's Drury Lane," Architectural Review, CX (1951), 43-46.

Lewis, Anthony. "Matthew Locke: a dynamic figure in English Music," Proceedings of the Royal Music Assn., LXXIV (1947-1948), 57-71.

"Notes and Reflections on a New Edition of Purcell's The Fairy Queen," Music Review, XXV (1964), 104-108.

. "Purceil and Blow's 'Venus and Adonis,'" Music & Letters. XLIV, (1963), 266-269.

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. "J. E. Galliard and A Critical Discourse," Musical Quarterly, LIII (1967), 347-364. 233 Manifold, John. "Theatre Music In The Sixteenth and Seventeenth Centuries," Music and Letters, XXIX (1948), 366-397.

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The Muses Mercury; or. The Monthly Miscellany. Vols. I-II. (London), 1707-1708.

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Rosenfeld, Sybil. "Scene Painters At The London Theatres In The 18th Century," Theatre Notebook, XX (Spring, 1966), 113-118.

______f and Murray, Edward Croft. "A Checklist of Scene Painters Wbrking in Great Britain and Ireland in the 18th Century," Theatre Notebook, XIX (Autumn, 1964- Summer, 1965), 6-20, 49-64, 102-112, 133-145.

Ruff, Lillian M. "Thomas Salmon's 'Essay To The Advance­ ment of Musick, ' " The Consort (Summer, 1964), 267- 275.

Rylands, George, and Lewis, Anthony. "The Tempest or the Enchanted Island," The Musical Times, C (June, 1959), 320-322.

Sands, Mollie. "Mrs. Tofts, 1685 ? - 1756," Theatre Notebook, XX (Spring, 1966), 100-113.

"The Teaching Of Singing In Eighteenth Century England," Proceedings Of The Royal Musical Assn. LXX (1943-1944), 11-33.

Schueller, Herbert M. "'Imitation' and 'Expression' In British Music Criticism For The 18th Century," Musical Quarterly, XXXIV (1948), 544-566.

Shaw, Watkins. "The Autographs of John Blow (1649-1708)," Music Review, XXV (1964), 85-95. ______. "A Collection of Musical Manuscripts In the Autograph of Henry Purcell and Other English Com­ posers c. 1665-85," Library, 5th series, XIV (1959), 126-131. 235

Shaw, Watkins. "A Contemporary Source Of English Music Of The Purcellian Period, " Acta Musicolocrica, XXXI (1959), 38-44.

______. "Purcell's 'Bell' Anthem and Its Performance," The Musical Times, C (May, 1959), 285-286.

Shepard, Brooks. "A Repertory of 17th-Century English House Music," Abstract in Journal of the American Musicological Society, IX (1956), 61.

Smithers, Don. "Seventeenth-Century English Trumpet Music," Music and Letters, XLVIII (1967), 358-365.

Sutherland, Gordon A. "Notes on the significance of 17th and 18th-century Music criticism," Essays on music in honor of Archibald Thompson Davison, Cambridge: Harvard University (1957), 195-203.

Tilmouth, Michael. "Henry Purcell, assistant Lexicographer," The Musical Times, C (June, 1959), 325-326.

"The Royal Academies of 1695," Music and Letters, XXXVIII (1957), 327-334.

. "Some Early London Concerts and Music Clubs, 1670-1720," Proceedings of the Royal Music Assn. LXXXIV (1957-1958), 13-26.

. "Some Improvements In Music Noted By William Turner in 1697," The Galpin Society Journal, X (May, 1957), 57-59.

"The Technique and Forms of Purcell's Sonatas," Music and Letters, XL (1959), 109-121.

Titcomb, Caldwell. "Baroque Court and Military Trumpets and Kettledrums: Technique and Music," The Galpin Society Journal, IX (June, 1956), 56-81.

Ward, Stuart Humphry. "The Male Alto In Church Music," The Musical Times, XCVII (October, 1956), 531-532.

Westrup, Jack. "Purcell's Parentage," Music Review, XXV (1964), 100-103.

"Purcell's Reputation," The Musical Times, C (June, 1959), 318-320. 23b' Vforsthorne, Simon Towneley. "Venetian Theatres: 1637-1700," Music and Letters. XXIX (1948), 263-275.

Wright, B. Forsyte. "The Alto and Countertenor Voices," The Musical Times, C (November, 1959), 593-594.

Zimmerman, Franklin B. "Purcell's Family Circle Revisited and Revised," Journal of the American Musicoloqical Societv, XVI (1963), 373-381.

Unpublished Material

Jackson, Allan Stuart. "The Perspective Landscape Scene In The English Theatre 1660-1682." Unpublished Ph.D. dissertation. The Ohio State University, 1962.

Mace, Dean Tolle. "English Musical Thought In The Seventeenth Century: A Study Of An Art In Decline." Unpublished Ph.D. dissertation, Columbia University, n.d.

Plays

Baker, Thomas. The Humours of The Age. London: Printed for R. Wellington . . ., B. Lintott . . ., and A. Bettesworth . . ., 1701.

Behn, Aphra. The Emperor of the Moon. London: Printed by R. Holt, for Joseph Knight and Francis Saunders . . ., 1687.

The Younger Brother; or. The Amorous Jilt. London: for J. Harris . . ., sold by R. Baldwin . . ., 1696. Bowyer [Boyer, Abel]. Achilles; or, Iphigenia in Aulis. [London]: Printed for J. Bennett . . ., 1700.

Brome, Richard. The Northern Lass. London: Printed for D. Newman . . ., 1684. [Burnaby, William] . The Modish Husband. London: Printed for James Knapton . . ., G. Strahan . . ., and B. Lintott . . ., 1702. [ ] . The Reform'd Wife. London: Printed for Thomas Bennet . . ., 1700. 237 Cibber, Colley. The Careless Husband. London: Printed for William Davis . . 1705.

Love Makes A Man; or. The Fops Fortune. London: Printed for Richard Parker . . ., Dorman Newman . . ., and George Harris . . ., n.d.

Loves Last Shift; or. The Fool in Fashion. London: Printed for H. Rhodes ... ., R. Parker . . ., I. S. Briscoe . . ., 1696. Congreve, William. The Judgment of Paris. London: Printed for Jacob Tonson . . ., 1701.

Crowne, John. Caligula. London: by J. Orme, for R. Wellington . . ., and Bernard Lintott . . ., 1698. Dennis, John. The Masque of Orpheus and Euridice. (Text in Muses Mercurv. I, #2, February, 1707), 29-34.

D'Urfey, [Thomas]. The Bath; or. The Western Lass. London: Printed for Peter Buck . . ., 1701.

The Campaigners ; or. The Pleasant Adventures at Brussels. London: Printed for A. Baldwin 1698.

. The Famous History of the Rise and Fall of Massaniello. In Two Parts. London: Printed for John Nutt . . ., 1699-1700.

A New Opera, call'd, Cinthia and Endimion; or. The Loves of Ibe Deities. London: Printed by W. Onley for Sam. Briscoe . . . I. R. Wellington . . . 1697.

Farquhar, George. The Beaux Stratagem. London: Printed for Bernard Lintott . . ., n.d.

The Constant Couple; or, a Trip To The Jubilee. London: Printed for Ralph Smith . . 1, Bennet Banbury . . ., 1700.

______. The Inconstant; or. The Way to Win Him. London: Printed for J. Knapton . . ., G. Strahan . . ., and B. Lintott . . ., 1702.

[Gildon, Charles]. The Patriot; or, the Italian Conspiracy. London: Printed for William Davis . . ., and George Strahan . . ., 1703. 238

[Gildon, Charles]. Phaeton; or, The Fatal Divorce. London: Printed for Abel Roper . . ., 1698.

[Granville, George]. The British Enchanters ; or. No Magick Like Love. London: Printed for Jacob Tonson . . ., 1706.

The She-Gallants. London: Printed for Henry Playford . . . and Benjamin Cooke . . ., 1696.

[Hopkins, Charles]. Neglected Virtue; or, the Unhappy Conqueror. London; Printed for Henry Rhodes . . ., Richard Parker . . ., and Sam. Briscoe . . ., 1696.

Lacey, J[ohn]. Sauny the Scott; or, the Taming of the Shrew. London: Printed and sold by E. Whitlock . . ., 1698. Lee, Nat[haniel]. The Rival Queens ; or. The Death of Alexander The Great. London: Printed for James Magnes and Richard Bentley . . ., 1677.

Manley, [Mary]. The Lost Lover; or, the Jealous Husband. London: Printed for R. Bentley . . ., F. Saunders . . ., J. Knapton, and R. Wellington . . ., 1696.

[Manning, Francis]. All For The Better; or. The Infallible Cure. London: Printed; and sold by B. Bragg . . ., 1703. Motteux, [Peter]. The Island Princess; or. The Generous Portuguese. London: Printed for Richard Wellington . . ., 1701. [Norton, Richard]. Pausanius The Betrayer of His Country. London: Printed for Abel Roper, E. Wilkinson, and Roger Clavell . . ., 1696. Oldmixon, [John]. Amintas. London: Printed for Richard Parker . . ., 1698. The Grove; or. Love's Paradice. London: Printed for Richard Parker . . ., 1700. Pix, Mary. Ibrahim, the Thirteenth Empereur of The Turks. London; Printed for John Harding . . ., and Richard Wilkin . . ., 1696. The Spanish Wives. London: Printed for R. Wellington . . ., 1696. 239

Powell, George. Bonduca; or. The British Heroine. London: Printed for Richard Bentley . . ., 1696.

[______] . A New Opera; called, Brutus of Alba: or, Augusta* s Triumph. London: by W. Onley for Sam Briscoe . . ., 1697.

Rowe, N[icholas]. The Royal Convert. London: Printed for Jacob Tonson . . ., 1708. S[ettle], E[lkanah]. The World in The Moon. London: Printed for Abel Roper . . ., 1697.

Shadwell, Thomas. Psyche. London: Printed by T. N. for Henry Herringman . . ., 1675.

Steele, Richard. The Funeral; or. Grief A-la-Mode. [London]: Printed for J. Tonson, 1723.

The Tender Husband; or. The Accomplish'd Fools. London: Printed for Jacob Tonson . . ., 1705.

Taverner, William. The Faithful Bride of Granada. London: Printed for James Knapton . . ., William Turner . . ., William Davis . . ., and Bernard Lintott . . ., 1704.

The Triumphs of Virtue. London: Printed for Abel Roper . . ., and Richard Wellington . . ., 1697.

Trotter, Catherine. The Unhappy Penitent. London: Printed for William Turner . . . and John Nutt . . ., 1701.

[Vanbrugh, John]. The Pilgrim. London: Printed for C. Bathurst . . ., 1742. The Relapse; or. Virtue in Danger. [London]: Printed for Samuel Briscoe . . ., 1697. INTRODUCTION

The present volume includes all the theatre music discussed in Chapter III of Volume I of this study. The instrumental compositions are arranged by play in the order of their presentation in that chapter. The vocal composi­ tions, arranged by category, also follow the order presented in Chapter III.

With but few alterations, the music is presented as it appears in the sources. Mezzo soprano clefs in the instrumental compositions have been moved up one line to read as alto clefs. Clefs have also been modernized in the vocal compositions, but the original clefs are also given to indicate the particular voice designated by the composer.

Double bars dividing the strains in the instrumental compositions have been left unaltered. Theoretical sources of this time present conflicting or incomplete information regarding the precise meaning of these bars. While it is certain that they are used to separate the strains, it is not certain whether they also denote repetition of these strains. Because most of the compositions having the double bars are short binary dances, repetition is probably intended.

240 241

Instrumentation is also given only when it appears in the source. Where instrumentation is not designated, strings are undoubtedly basic, with occasional doublings or substitutions by woodwinds. Because metric signatures also indicate tempo, it should be noted that the "C with a dash or bar through it, was the normal common-time signature of Purcell's day. In strict theory it represented a 'diminution' of the time indicated by the plain C. But it had ceased to have such a meaning in England at this period, and should be thought of as 4 / 4 . . . . The ^ signature . . . is a true diminution of (j:. . . ."1 Additions and emendations of notes are given in brackets where possible. Cancelling sharps have been changed to naturals. Other changes are listed in the critical notes. Capitalization and orthography follow that given in the source, even where discrepancies appear between voices or within the same voice. Titles are taken from the opening phrase of the text. Where recitative and airs are paired, the title of the air is used.

^Watkins Shaw, "Purcell's 'Bell' Anthem and Its Performance," Musical Times, C (1959), 285, CRITICAL NOTES

Cynthia and Indimion; or. The Loves of the Deities

1. Overture: Changed rhythm in measure 2, count 2 of tenor part from eighth plus 2 sixteenths to dotted eighth plus 2 thirty-second notes to conform with first treble. Changed last note of continuo in measure 4 from "a" to "g." Changed sixteenths in continuo in first ending to eighths.

2. Cupid's Dance: Changed first note in tenor part, measure 29, from quarter to half to complete measure.

3. [Aire]: Lowered first six notes of tenor part one step.

The Rival Queens ; or. The Death Of Alexander The Great

1. Symphony for trumpet and violins: There are only a few minor variants between the version given here and that in the ode, e.g., the lack of a figured bass in the first two measures, the filling in of the interval in the bass on count 2 of measure 5, and melodic and rhythmic variants in measures 42-43 in the violin and tenor parts.

The Relapse; or. Virtue in Danger

1. Aire no. 6: Changed second count of measure 2 in the first treble from "b-a" to "c#-b" to form thirds with continuo.

2. Gavott no. 9: Changed dotted eighth, sixteenth rhythm in measure 10 of tenor part to eighth, eighth.

242 243

The Inconstant; or. The Way To Win Kim

1. Hornpipe no. 5; Last note in second treble measure 12 changed from "e" to "f."

2. Aire no. 6: Called an "Allemande" in A Collec­ tion of Lessons and Aires for the Harpsicord or Spinnett compos'd by Mr. J. Ecoles, Mr. D. Purcell and others. London: Printed for J. Walsh . . . and J. Hare. . ., n.d.

The Unhappy Penitent

1. Overture: Changed last note of measure 7, second treble, from "g" to "a°."

2. Hornpipe no. 7: Deleted extraneous "c" from measures 13 and 15 in tenor part.

The Grove; or. Love's Paradice

1. Trumpet Sonata: Changed "d" on count 4 of measure 13 of first treble to "c" to agree with trumpet.

2. Come all away: C meter at beginning of chorus deleted in favor of the 2 meter of the preceding air. Cynthia and Endimiont or. The Lovea of the Deities 244

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Minuett no. 9 / é g

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20 V . If U i P I 1-'

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¥ z n z : y — y- y y y y y -y— y-

20 £ &

y y— / £ M:

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■y— y- y .y. ■y— y- y y

7 b b k_ i à y y •y y y y ■y— y- P y. y / y ÿ i = r s * E? •y— y 2 / ^ - b

/ y ■y— /— y y / -y -y-y- y -è a

■y— /- z z z -y— y y - y z ; ^ = z : w 1 _ L

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y-y 7 - T y—f-5-y—y 2=21 ^■v/P ÿiv •7" y y

e y—y 7 - 7 - i oc 345

m r

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Î f /'

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m*- zzzzz zzz.

/ / / f y F

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t = È ~ / ~ v: z: - y y - z: V — " i F z z z z z

6 0 z = z y y z = z

£ ë i ë

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jg____ £_ - y Iky y y j- E

kiL - y y - y y r f"/ y y -y - y ii- y y g # i F E Z = % Z Z î Z Z Z Z 2 Z y x~ M s a i

T T i r % i = # Y 2 Z = v = n

ï t = = t v - y — «-t y X- g 7 " ■ /

-f y - y 1 ■y---- / ■*' 3

? ZZ -y ✓- oi

v - v V — /- i # h s

T— r z z z -Y- ■7~7— y i

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y -y y y a TT^ V y y y

s s tY- y —y V y z = z i: 59 348

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a = t ? a a r t = a Y Y- Y Y Y Y Y Y m

f Y YY jjüZ-4^: 1 i: $ g g a

î £ £ £ ZT "X 349

Symphorçr of AU~^ ^ a :# a

W ts3 . i I— I— Z'’ T = F F = = T

-X w*-"--- <- 1 ## # a 'S (o 5 b 7 Æ -2. a /' T---- —------«> 231 4 :Ê

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i__ f = l # — ?*- V --- -7 -TV ^ 2 Z Z Z Z Z Z Z Z -y--- y— ÿ*- b Æ S -4^i f = F

o r o r LOTT ii: I:'

j=.

M ro

-^ =

='V

M. ( i::j :j 4=. \

,V\ Vv y 351

Symphony /// I I-. I 1 = ± a gy/ I f : = — E Trumpet

y ^ /^ ~j~y // Z = ^ æ Trumpet *

% z/////// V/ yy y// y ✓ / y ■y y-y //f / y y y y i y y -y-y-/ y y y y Kettle drum l y u i ü u U LU L L Ü U U U LM E F 3

f y y y i ^ y-FT -FH rri=B ÆZ3ZI lS a yy^y

ZZZZ2ZZGZZ A J j y fy ni yy ^ ^'R . m " y ? y

V'% /y y/yy//y / y y y y y y-y yy y y y -y-yyy y y V — y -y y g?

y Ut-'liLI-ui l Æ S 352

Symphony

Trumpet

“JBT

Violin

t v r m Violin

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(o L> 43 £ :>■ ES 4 j U ' t

<

s rr .i- r - l^ i & S 5

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'jfjk ^ 0 0 0 0 ...^! ^ r r r / 4 i i ± i i 4 = ^ u -m I? (p t = B f . ^ . 0 1> MJ|J lijip U-p u 353

10 -ggr a

é * é f f -/■/ I* w z rfe

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2 3 3 = 2 : - / f \ nf dt #

(o H # / / % / / J _i A'

15 -*f -^=-r2rZ jL t J L . t . a

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2 æ i

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-T/ f > - ■/- z z I j ' n n .=t m -f-r 3 % / r .z::^

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Adagio Z_1 X / ^ X_ f 7Z T 7 ■x-x - X l l ^ X :D— .) Ü - ■ I— k IIJ I u -1------I I n zzzzz___z ?------—X— ■X ‘— - - X X P = F = Î ^_.;.>_I_-4 l

z_ z z V«J X- , / ^ r T- g F I k' M . . P 5 F a. , a ■■ I. I >

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1 I- !■$ m z zzzzzzz: Hautboy

bassoon

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/ /- ; ^ M = ( F T = M M i - ± # T = F f Bass Violin 363 10 -- w--- /__/__ /A-- /_ I j L-J 1 ^ 1 1 1 V

■)ï ^ ^ -- BK--- 1 1 l-lj----- I^i-f- \d -~ \ 1 1 ^ y f /— V Z-

*y y #* y ki/- jy T .1— Vi— f1— i1— _|—r V LJ r— f^ ' 1 1 M

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1 fa -- mw------BW------= — 364

E t E t i = t = ---- ■»------p - ^ - - - f M O - 4

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C)i ' 1 1 1 1 -l"'l 'l" 4 k = T = f = l ----- J ------I- 1 I 1 -,-- 1 V - # --- ^ 1 ê ...

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S ymphony for Flutes and Hautbois

t’jn s S t i Flute

i Flute

/ / % : g = W e m i I Hautboy

z # ± = t / r f f zzzi 7 _ f ~ T Z 2 Z 3 C Z c Hautbcy

/ % I a

U m #:P !i a &

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b c $ 5 # I " b‘

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! = t t z t -e- # ÿ ± 367

30 - w-- p = j w = -k •*■ 1?-,— :::- 11 1 . . . "'■>* r bf-'ï T ^ h f V'/ y -i” r t -i-J-if r ^ H :^ .l ■ L_n q --i>^ i ■ 1 , ■■ 4------< 7pTZ L-V I::,'?: 1 / ■ V. W: ----

L#: p H

7 z

a a "

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•Ô-* 1. ÜL P k = * : 368

g a ± = t # a *p9ir

a Ç = F 4 g B

a f? O ■ 1 4 " 369 Trunqpet Sonata Vivace ^-- a ------46#--Hj2______■"H------^ — U\jè\ W ------H-: Trumpet

-----m------Violin V û û d ''^

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U 'r f r M m f e i l L l | Ü Ü | # B t i N

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% c

> : n 127 ">r % III] N % v l B ::i % ::d ?:9

■:i d : %\ " > '3 f :D : q tH % % :3i i:\ l .

: : 7 ::i

S '.:j î' :] : : i ::] ,klll %

:^5 ; : 9 ::':3 k

«s |]i i : C“ <> _. 1:3 Été C5> \ m è 371

Adagio g

a K S

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z z Cl r~ m

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m z # 4 - i 2 I 5

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d i " T T 4 j L w d 1 ^ i 7 — y H 51

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/a J / f Z

h T- Yl 1 ? a 7<1

t e S z 6c t e f ^ y - Tir y — /- : i z Cl I d I 7 ' - y v " y Z±

<1 1 (I I cl ■t'-yf-j- 2 Z Z Z Z Z Z Z Z

2 = 3 / / / v.jf' -< y / v ^i T d MJ I Ci I G t e u 1 u I t :

3 / / / f e e / ' fL V / 2 t = t

fl 4 T T 3' S z 375

S f r - f

^ ■ J i— i^ i z il ¥ = t = P n S 17 N 7 f f

z - f c z 4- £ 2? = ?

% / v 9 v f FP"LtI LA \ Uo 7- / / y Zîÿ_ \ - t T % I2 ) tifc S TO #

/ ■ /f /L f = F F z

£ ± z Z 3 / y % /

fer ,. 4 » g

$ f e p g ? £ I L:|= a 3 z=z # * r ^ T S z r z 376

4 - z 52 1 = { 2

n I I) -/—^—/-

5 = ; T»r /-

E £ T = F = f r = f

t L ziz z r i / S 5 F î?*' 377

For Hautbois and Flutes

Flute

Flute

•m r

Hautboy

Hautboy 1d 5

10 ^ 378 379 2$ 30 z TW

± j S . ^ ^ -é- 4 - 4 ' ' 4 ^ I g

/ fL V ^ - Z -

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-4 -

* -Z-- #-!- » ^ 1 — f FF

_3_l. M 4 -4 -^ L ^ ____ 5 ^ttacç^ 5 Z Z Z Z FF 380 Sonata II « Trumpet

A 7//T7i SB i Violin and Hobcgr g * F m « % azzzrz 2 Œ Z 2 Z Z Z Violin and Hoboy E »

X// * v # "I I PDiU

t f " ^

* < j f m s i I 2 Z

i!#:r — h t e - f t s z z i r w i r -y- 381 10 S i U . s a m

^ /nA > >V < a v U - p ? ^ ' y rri y t

// f r f f j ï u f - m ' i f &

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^ > ~> y £ 15 /— m ' N Q: f y y «»

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Z Z f Ë # s S s E y y y y - / y ^ y > fl yil I vl ### f F f f y — ' / n £ y y a 1 '.pi ■ ri|-.in W U ’ f ■? 7 73 382

Adagio A

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A m ^ — r ^ »*- y — »<—

z_ 7 - ^ / / m 1Z 7 z : v / i-H-r / f I f a

/_./ ;d.;^ m nap 384

Z_Z

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-y— /- i;^ l T; # = # î = 5 : X' > > V ■ Ê t

E V /- > J F = F 4 = P a m =

_/ JL J L J - V --- M e /.,/■ t

20 r/' ' £ E i: E

/ /- ± £ £ £ ?

f e H £ £ z a : f - /

É / y s £ £ # e G

EM Kim $ ? ? E# Y - ^ 385

25 2 S . ? i £ £

t e S £

E £ ? — r £ #

^'— " ~t; 5P £ 5 £ a a

jg g_ (g (» /& £ £

(=? S b.

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% i

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il ? E m

à "X' s ± f £ r „ r /.:

li'^i ^ — 4 É :P=éC £ B = S S V ~ 7 V 7 % ;^- m a

V- £ Ë >->■ £

£ É & i #

g

# f e W : z r ^ T Z . l^phony 389 jRbçJ J J - f w i=l= # = # Violin

.jjhl'' I I ~)~é zzzz: r # Z - u E - I Violin

z : _^_,x V — y Z: p = ^

3 H S J L k -2LS- 4,5 3 Z Ï I 1 = F r = f 10 w v - g y - ^ 0 / g g I"-'.. g 1 = F jAttacca]

#

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XXX W=)=^ ■X— jX- -' i - i- R7^ z z z m J2 . CL * X — X- a _ m ZL -JÉ— © ---- ^ — ' f f '— -f-' v r - j------L^— :-- LJ [: L | ^ ./— 1 ' 1- /^ I l Violin

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Y"-" — TT---'h 1--- ^ —M— 1--- ~|-- 1 1- 1 1 • H # " f e i - H

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>-w C *— ' —|-l------^ p ^ r k- p

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1 1 ^ ---TT-Z----- = # = k = '# ;h T p - p - F t ^ h + ^ t» jh I t I. * , 7 L)«, 1 7. 1—H 1—1 - |-y^ ; , - 1 - — 1—1—t" 4—1—^--- < #..U j t w 1 y ■ / Continuo Airs 393 In vain you tell me

i

tell me

lights

nothing nothing nothing yett la ;— & ■ S------

I, 20 a a ! 2: legs days and nights a M l dK. ✓ r Î 5 z :

(57 g)s 2 Z nights for nhen you have your Love en- o -Ô— -4:

3 2 ] 394

p m n FI _ I

joy'd you find the Bliss so small you eitherher think your = ± - J l ______L_ - tsL_ m

3b 2 E

Lov- -er cloy'd -tS»--- 1 1

J l é » . i Ü I u that or that you han't him all for \a U

all. Leave your mountain vale 395

I ; m fl. . z

Leave your Moun-iQun- tain Vale and home 71 a 4 = m T $ I.

ÎV L

to the rove of plea- sure come

Z' r m

10

come You need not feare Flocks Will r S

I*'

Panstray pro- tects while you

play you need not feare your Flocks 396

stray Pan pro tests while you n

play playyou Happy Mansions pleasant shades 397

- V L i H ------##------1 ^ « ",

H a p -K T h a p -pr ! -#- V - h R H r - IT-;... u V . . . H ------1— - j ------1------1— - i ------l f - 4 ------^ 4 - 7 i d : ■ < k y ^ — : ..... — — ..... / — — ------1------V' ...... ^ 3 3. 3 I 3 3 f r - l - « ------=— 2 0----- 1 f 1, ' 1 1 ! ! i 1 » ' ! 1 j j H - 1 ! 1 i ! ) i f r T 5 = _i_i L -L i L LL-LLJ-"^ LLi j_ u

h a j - i ^ Man s io n s p le a - - - ^ - /- /" b ^ -y- I, ^ w, - Ip / A i - h - -}— L |— i ------^ > ... y * > z E t ...... = t = ^ h------= EL_ = t

.333 3 10 , 1 1) , / j / 1----- 1------:..;i w&f, — = ^ ~ b iH z tJ - t t t -

s a n t s h a d e s , If h a 'fi' Is___ Is__ IcL-W — yiT-r^ ---- " f ------Z - h l------1----- 1------)------# - = ± = n -4 - i 1

jaL. Z Z _ Z j

Hap-py hap|-py Misions plea- 1 ? ^ s Î

333 3. 3 g 3 3 20 i a ttr fc: sant shades lo V> b <■ -Jg- -f- 398

at of In- no-cence of In- no- cence of ln< no

-J— 1— 1------■J u > .. . cerice and ease Gentle shepherds 1 1 I' df/ ^ ------1 — 1---- !------1--- -- dL_------^ -- ^ y - ---L z E l l .

30

jUCL. Jug-

Gentle shepherds gentle shepherds Gentle -f- h / -f- >'■■4— f 1,0 * ?

: Hi>. ^ C f o- 1 ) 7 i - - f f r.-| 'Ti - ztj-^ ■^>^•1— ____ 1' I I — U — I J — i— shepherds tender tender Maids sweet abodes of smile- - - hr If -*-T------1----1— ^ T ./- ..1 1... li 1 Us o

Ing peace Svery Grace and 4^ I .. m 399

/»■ •' 1 i- ^ /'.. . / ' T V " 1 -I— !— j— ------L>- i_U ' < 1 ------1------joy possessing welcome him welcome him that gives the hlessi ng k ^ A X" ■ / ._ 1) r ^ 1— I- -A-- A-- --- 3-- M ----!— ?------1 " Ü - f 1 - 1 ---- 1------J— ------UJ---- 1— i-J

U5 ^ ------^ .. y - f '' / -i4— ------4 ---- rf*------

=4— 1i— . i—1 ,.. every Grace and joy possessing welcome welcome I, . 1 » -A b/ -A V T . f ---^ -- g--- ^ ------J— ;— i— 1— 11 h 1— ^ ^--- 1 k = — ^ — i------— "-i -i—— ^

--- — ^. 5 0 ✓ f 1— 4h - < ^ _1--- jjS---- — ---- — 4------— --- = t --- H — H — I— : 1 1 = kj 1 welcome him that gives the blessing welcome welcome •A b ^ V* -A A ^ -A -A -A 11 1 , - h - H -- f ^ --- 1— 1--- — H— ^ 4 -

jr ~7=ÿ I" • # welcome him that gives thehlfissing -f-k ^ ____ 4 ÿ 1---- IÎE-Z 7 The Flocks and Herds refus'd to graze 400

"BT TSW-

The JL\

<2_ T

a-

Flocks andHerds fus'd - to grazere and

10

men and Beasts cou'd on gaze

15 -p4- -pent-

The

± :W ^ U a

Flocks and Herds re fus'd graze and 401

men Beasts cou'd on­ gaze Au-and

e's beau- thus thus

-f - - I ^ 77- " 3 T UI-- w pear thus shining thus trans port- g .- fO T

3 5 i ing

% r ? -4-

UÜ 0 T z g

J2_ W - ' u here thus transl-port- if— ^ ___ P $ 402

-)■ . ^ ------1------4 ------: ...... -4------1— . . . „ . t a g h e re

------,£------i ------f ------1— -r£P-‘------: " / •"-■ ^ W - — f— H ------To Her vre flow’iy Chapletts bring 403

I\j y _L/ y — \\ E

Her ire flow- *ry Chap- letts bring the

y-

fair. est pro duct the Spring

A 10

IWP

Spring Her we flow. ly Chap. letts

1 1 : -y*—

=12: i z tr i bring the fair­ est duct of the i I r

f' 1 J 4 i r - f ------rrr — ------L

Spring To Spring rs ^ ------H-r — if-!------404 Tis love, tis love's ye Theam

zz_z_L_z: a ^ 'rf -ê n 2ZZZZZ P P - tf Y e BLrds -that in our forests sing the winds that wan-ton with our

i Z Z Z 3 Z Z fe L P - * - I DP zpZEZzzzz:

Trees ye streams that mur------mur to forsake your spring be si-]ent be silent ye out- I . i ¥ _2_r

î n n n r i-J îp g I H I t z seas attend at- tend the Ru- -rail Î h k . z z :

b 1 ^ ------Bm------|< 1 j_ J 1 &- ^vr;— -..^ _J2--^ ^ ^ -- song Tis love tis Ip U ^ 7)rn-\----- ^ 1 .\ > - j - j ' - m j _j— ^ , n ' , 1 . . L - 1—- L^./_y------j J ... 6 , ' "1"

1 . 2 0 lit.. --- 1— H z ^ hé------1--- 1-- ^ --- 1--- 1— f--- ( --- <12— J — :>_ P- ^ -- .. 1 1 .... love's ye Theam Tis love tis love's die Theam tis -if--^ ------1---1------P T I '~ H 1 J ^.. . 1 -W; ------H 1 1 J. 1cS>'...... ■■"■■* 0 25 ^ -jTiT r ^ ^ ^ -y a h g1 M He tis he our Lays em- ploys life of our Vers life of our Vexs and j t . ^ ^ — • -X"'" / i 1 4 - U - 1...... 1 U 405

48- P i- Mmarch of our Joys with num- bers soft soft as their de* _ '±._ tf— > -- rf*— — f - ^ / - — i

r ^ .. y,.«— 1 -& ------1------— -1 ... . ( I ' T ' r ~ _l------a ----- 4 ' 1 - V i . 3z V :.. - # = : ------h H ------...... 1.. ---- 1— H --- — 4 ------f--- sires with words and Notes that speak theii fires He 1 i* -V------X -- — -- 1--- T------> -t---- 1-1-— r — f c . J ...I-: --- zie----- — --- -- £ --!-- 1-- 4 - r 1— f - 1—1—==4=====4== ^ ------1--- = t e = ------1—— H — — 1— H Uo -CLi a

warms he warms the time* ^ 1 ^ , _dL_ - O ^ I*/ j?--- §

-h— ?---1— ^ |--|- --g— 0 - — Tg"----- ^ --- -- O' f ^ ^ ( h - \ / / j ~i.. -..f — 1 1 T-l- : u — ^ H ------U 1— 1— throng he warms he warms the tune------^ M â V- 1 ^ ^ Y- ^ -1— ^ ^ -1------1--- ^-- -Y------1-- --- '"■'1 ■- Ï : 1 ' z % _ E - t e a E

& Sée see see % T I ..... 1... 10

12: a •<5^ see see see see see see see see see the Trem- ; r~i" i r 1-— r. V* ■ ^

re­eling sheepre vive re­eling

20

vive See see see see see see see see

■&■

25 30 n I 1 1 izzz^zz c, • e - X see see see see the Tremb- ~1~ ' F f V-1— -F1--T* r^-î 3T-X- m = S Z ± Z = 35 Ü4I r a X -ling sheep re­ vive re- vive^ __^

]g IW 407

• liO s t m z=zz±: The shep- herds shep- herds seem a- gain EZE /: : : ~ic i t-

li5 M 22: ry-v: fi. -e- to live the shep- herds shep- herds seem a-

//» ^ - ^ — è . ^ ;-<£■ i -gj.

50 -r-3 ri ^ -r-i a y ; gain - shep- herds :S.--Ç -

ÈË:il -e" live

z z T 408 Twice she turn'd

'CTZz: jjl /_ A -JZ ± : £ zz— z: -Z-. ,-jj.FF F F#E Un-der-neath a gloom- i"y shade by an ancient Poplar made ehile the

5 D ' T Î >- K'-f =2: w - Zephirs round her play Cloris thus complain- ing l£^ m $ ± = t

XU 1' : --]-y;---- T------3»^ -1— j r - — — 1------i i * \ ~ i > 1 i - F / f / F : :i' '• • — 1— M — ------1...1 1 ■ - y where shall I Phy- Ian- der find Ecch-. 0 an- swers. her be- hind 1 1 1 1 --- 1------—A------—,------:------^ ...... -1 - J- ■-= ...... •c? "2» ■■ "■ ■■------3 ------

—^--- «f—3— ig> ■ '■■ p i H LU H 1' " i i i -— Twice she turn'd and saw 'twas false chid- ing Eccho's ly- ing tales -e )— i j w r f Î- " V r ' Y " 1 " - ^ f----1 = 1 = ^-■ I' >■ i 1 - l| 1 U - '1

thus she mourn'd gain and said mhere 16 ny Fhy< Ian- der fled

20

from his Flocks his frxShds and me when shall *1 shep- herd see 409

irtiether turn find him out an-swers her boutoho 410 By Eccho thus mock't

a Ï

By j l l j UL 2 = ? : =P=

3- # f È 5- •" 7" Ecchttj:..o thus mock't on a Vytp]f she re-clines re- solv'd nsre to wist her com* i t g nr IT

IÊ: ^ ?— plaint to the winds )laint to ihe winds Till Cu-pid who pit-ty'dha* sorrow and tears ônthe 1 ------E ,1 J ) r n g ,— ?— f ^ /

10 . ______31 ji..„ É D: r fi r j , r ? S i — /- ^ / - wings of a Dove to as*- àist her ap- pears till Cu- pid who pit- ty'd her _jLJ«______m 3 Z È ±

15 T— 5 = e P in i' P f r 3 T i > f ^ 3^ j ? - d - <** • "y "y sor-row and tears on the wings of a Dove to as*- sis^t her ap-pears on the B = t p E E $

A; p .. |j -4 ) - ^ . P IF. y y y ; wings of a Dove to as- sist her ap- pears Î g b . I .... E 1 = t t 411 Lova descends at your coinplaint

* * g- g 1 g 1 m iiove de-scends•scends atal your com-piyjitilaint :x)ve de-scends at ___Z___ Ë(_ /! ^ ^ 5# g m s y T ? / # "Y tsj m 10 y y a T i— r your con-plaint love love who knoirsU i ' whokiatrsidiat i ’ L Û > most you want blds you to the i. L. W T T i tè * '* /"r / a g I- M. n ' f = # = a? § W I- L . . Ü Gave re-pair where you us'd to vent your Care you shall find you shall find your 2-y- a

m 20 é — /- -ar=^ "Iff I-- F I I * Lov-er there bound by mighiy Pan he lies pierc­ ing with his grief IX ^ Tlf" é L ^ / 9 1 i.^ - I . ' ^ ' •W~ y' g V -v ^ ,L_/. .<>■ 2 $ A zzz I i Ï - - th* skies There with your Com-pan-ions go try try try what \3r-ginidBt É. i- y 3F y p 2 = 5 3

/n A a I . .p V , i y / Vi^-gÿi songs what songs can do Z 3 Z Z zzz^zacÿzz y..* ----- 412 The force of love and beauty

5 The jlyL a

10 &

force the force W the force the g 221

IS. 3 T 3 1 Î 1 T = f force of youth and beau- ty try and Pan will -/— I Î tS*-

20 t d : f m - t Ê k ± z z z &

yield w i U yield yield yielda yield yield ^ ^ k5 k 5 ^-3 ■

2$ 30 s if.% . If yield as well as and Pan will yieldsriei< will yield us H — ^ ^ »

■y-n- ± - t 4. 7T7~ I /:% r.z: ±

yield yield yield yield yield as well as I u s k i _ L.S ■■ *L3.— 7 9 -r g T 413 Happy ever, happy tie i é &0— .. 1- -V— e- m e Hap^gpy •v-er hap-py we sou'd we see cou'd we see Fhy- lan- der free J ... £ — ^

10

Î 1».^- Love the best and sweet-est care is our on-ly is our on- ly tor-nent here m J #/ r I iT * 4T^ 15 é /iriz m Hap-py y-er hap-py we cou'd we see cou'd we see Phy- lan- der- free SI ^ --- /.-V- 4=t I (Xn'i'i 'i I i 1 I I " 20 z = 3 : 1 I ! , / — 21— ^ ii 1 p 1 love .the bestandthe besi sweet-est Care is our on-ly is our on-ly tor-ment here t S I II [ I l-^-t. 25 r W - > f a 1 1 Hap-py y-er hap- py we cou'd we see cou'd we see Fhy* lan-der free 3 ^ 1.1 tf-

JL _

cou'd we see cou'd we see Fhy- Ian- der free a 414 Love has blest you hapj^ Strain g è -y:-- m ^ 7 = Lov^ has plest you hap-py ^ a i n Love has — — .f- Î -^-

10

- a c z z ± = z : ? 'd- blest you hap-py ^ a i n go go POSS" ess go pose- i 1 I 'I 1-1 ' 15 Î g s y # - y ess his richest ^easura tiap-py Maid you blush ------in P ^ £ ___ ± 20 S -A vain du-ty n o w du-ty notr is jcqmW 2 = ^ = 5 — /- ^ ny- M l - M 25

S ~y x; V — iS- f / f / / with- plea&-eure is joyn'd - v = z F I 1 I i ‘r A 30 Z Z I Z ^ Z Z Z Z Z s 7 5 p r 'try o ^ irith plesjii» sure is joyn'd

/ y ... ^ ■ gC I g p m g m = f T 415

I O T I I I 1 J] 1 n î ? p - ^ — 2 f— ^ t h plea»-' aura i S I I" ~ l 1 ■7* 416 The Hero his Laiiralls to Love

wf ~3P~ ? - r - rr-^ The He- ro his ■V— /-

@ z g: L&ur-ells to Love shall re­ sign the Cour- tier his Aride and the ÆIL m sfe C T 3 Î “ i— M----- To- per his wine wine The saint his de- vo- tion tljc the É _ I

V- y g i Vir- gin her vow all states and con- di- tions the High and the Ja______la_ I n f "- '- 20 Jt.__ É # I ^ u Low all A- ges and sex- es to Cu- pid must bow all ■ ■— 11 2 ------s F

25 v-n. r x /' f --^ 1 i \ - - i " a- ges and sex- as to Cu- pid must bow The bow -<9— ----- Î m Accompanied Airs 417 Cease your am'rous Pipes and Flutes

a------YU. ■ , etij2<______Trtuqpet

r J r . ^ .... 1 - 4 3 > < n 1 ------^ 1 |èil 1 ^ J v •>] 1 .. 1 Cease cease yor am'rous Hpes and r Xuwo \ u 9 AJTUmI* ••••••••

1------1-b | : f ------\----- 1 ' - - H 1------= " ------b - l L|------

10 ^ r * ^ Z:

v l ? U & pett for the PrizeiWs- pûtes F t . —? IJSL. JSL.

li « ... . r -i ' T ' f - , ' . — 1— i^'Tr > —\—

(3------1— U W 1 [ j U Ü 1 ' [a = ] M ~

■■ ' '■ ------

S F f ----- \— . - 1 — y \ \ 1 t. 1-.- ...-o------0 ... loud 20 :y f T 1 ^ ' ? ey / ->

-1 •• • - ■ _ — ....< ^ ' " —^^ ^ — k ' l . i.y-,,/ - ii------:------< 1-..U- l U l a z i j j The swains must listen to a i 9 5 - 1 — 1 -J------1— . 3 7 * ^ "1 "1------1---^ — t—«__ ^ ' .Î...-L j ------# -- 1— e ------418

25 Ë

E m -tyer sound you o n - ] y fiat» ter flat-ter thedrdes* i = F = ± -•f' — / — # -- ^ r j % — Ê a

30

"zyr î pair the Trum-pet drives a-way their care and makes 'em vL a>t 4 — i - t - P ^ -4r- $ m 3 5 I

1^ V - «g - •y

-guish for a No- Ian- - . t 4 I , V 22:

-yi-- ^ ^ -- «_ 1------^ ^ 1 ' L 1 r 1 — H i ,| ;.-- , 4 -1: .-:1 - m - L 4 _ L L -

- ) ’ f | 7 ^ , ■ ■ z ------r *

4 -=------4>lex sound

1 - j — ^ — 1— #- at ■ ■ ■■ - r •• — — 4 — ^ — Î — r 1 1 1 j.J ------#-- o ------l-o‘----- 419

> * A *

i >

X JS— i _ J i . 9" J f 1 - ^ , " ? = = ?

'p'(}T-:__ : — /... 1— '=:-r' /■■ # f 0 é -, 1-- -r.--- -*- <@4 ------1— 1 ' H J 1 r - M I

:3------

------ie— fa— — 1— ar— /-- G^i av— ."T' _-r--^ ^ -4 — 4 — 1— ^ P- - I— -1- 1 ” ^■~

/ y # / / / •)------if , 1 . J f)...- ... j_ 4 — L: --

------ii------

«0 L: j' ^ r r 1 - 1' .... -K- If 1— ^ V "O'" " - .I f

L-— h------

f r f 1 ' g „:______420 Thro wondring worlds

...... Trunqpet

*" S rr IN, 4 — J) 'i}|^" " ■ «" ______Z_^__L___LL :rk- 6 ^ ------1 k 7 k -- —X--- k--- X*-- r\H- — T-~r “ - — 1- 4 — : f z ^ y '--- y-

S l

i Î a / : / ■V------«*— I

ZZZ5C

3 % Z / ^ ' "X" £

:$^F=P ✓ claim Thro m 7

I F F R ^ -^ ^ y Xy V ;Z~X-gr-y 7 ---- 7 / /— /- y won- • -dring worlds I Caesars . I Cae- - - sarswocthpnc- -— ■ X - •~ ■ X ' Î C z Z ' 7 421

px^ fX- #_|L/ / p:/_p - 1 ■ - J= = 1 . T_K.-I -'- - h : - L Ü - j j -

■ A — 1-— S E = S claim — y - 0 ^ ------■X-- n i C ' r 7 . n z i f c y 1 y ■•! ■ ]■ ^ '■ ' __ k_____ z _ -X------X— 7 ---x ^ -7 - ^ I J k i U 7 X tf-

*-- Zî-- 1---?------H

/T--n- i- -- - =-W=#- :j::: ~\ H ' ° - h h ^ h - H - t - i f I? 5 / U U J ----u -- < --- X---X --- 7 - ^ L j 1 -i r y X The Na- tlqns Tre 6 .g — — — — —ty -— X------/--- 4 - ^ %-" ■ W > ^ —: --- 7-1 n ^ - n . ù . F:#W -- 7 — ^ --- > ' — H x - Lx-----X-— 7 -— x - ^ 7 é t J M 2 5 X

hi~~=r)- n=i':ïtAi m f y y ■5 : name They Trem------niglis-Ts-^ -tynd^ty • s - g i ^ g , . ^ 1 g m ■?— r- y nn n n X X M # 30 -X-' -XX # S

6 $ = f = # name my A A = m -i:^ m p e i f 422

■6 * ' - — —

■p -----ÿ—^ ^ R -l , iv-FTJ ri 1— r" » : b r r ^ -4 —1— 1^ 'ir.f'z: ‘ r — ' -/• '—' Hun- dred Tongues hqt Hun- dred Tongueslds match-less deeds h is xnatdi^nss de eds.de- / ------n l n j ------7~1 T > h ^ f f « 1 t - 4 ^ — 1 # r — / { — / - W ^ t - - 4 - Ü-W Uo ■ A ------

- A - ^ - : ) = i ------1------:k = S = f c q = ^ 1 P -. 1 1 É)— 7---- 1- -t#«— o clare [n peace his nis-don in peace in Peace his wis- dom ------/ 4 3 % y f - r y /■f~ ■■> "1 / i i _ n ^ - k — t - Ù - l j - ' - lA .' - — Be------

m # %L±::=::::E ^ , J , :: ^Zl/,.V V" 5Z^ ^ ? / V4 ilX0 4W4VO 2.------^ -- IE___ ----- r-K*------#*— ^ 1 ' i r f - ■ f - . - f ^ - P h - n - < - n A / - f / l ' " - 7 - ____ f_ L i L * y = l D 4 j l J U . — »■*- -$^-77-f, f f / / r, fff' ft _^:_i__l^----- z:zz.zz u # m

— I— ------=

. . . . , ST War Q. ' r— ■ -#- L -.è r-fl '% lLri / : : ; / | J 423

Jo f * (f ir

z m / />

His force v . f gfl p- n p n iiV n .l V" h - A _

c-V a ^ f////^ t e a a - ^ =i-pr=r r f p ~ ~ 1 - " T T * # T in war his force in Of, PrH n , p . r ) : p 7 y cj- c r É

-sr- war

?* 424 Away these Fairy charms

4a — A- m a Trumpet u m a z _ z _ 5= 7 < ^ A. w a y a ^ a y these Fhizy Charms a-way these E E k j 5 i/- # **’ f l. v. A a l-.p.'-Z-W-

a m p i |) p M - n # E ^ > ■V— X- 2 = ÿ ^ — TT. 7------— ^ ÿc ^ 7 Fair-y chames a-way Too weak too weak too weak too weak to rktse'

I É

to ratSS to raise the He- ro's

4 -y- tlL-^ft. i 5Û ^ 3 a s ✓ the bàt-tiedSnâsQ arms tie I tis I tis I a-

a -W-7- § 22: 425

fjp. - = = i 0------ij------— ------—

■ "r ' r7 1 = =s siipff PPGn ' M t-=::qq=: \ , ' i--r-H — W;— I— 4 i=H'-!— U-Z- f y /'/y *•- 1 ^ tJ— J— 9 V — the end-less Qlc^'i^s f— é 8 % '')-;-- / , r < f ; = r r 7 4 v z y ---- . V \—r -^ : j d = W =

i /..._.y_ F# ■ir - : 1 _ <.. 1 # f f --- L _ ^ = Z L _ 2 : ---z U -L 1 .....11

■)^ri------— --1^ ------—«■— ' #"------

of the King

%fr-^--- ^ ^ /-/ ' - ' ^---- . If ^— r~ 4 ^ f ... # --- f--- #-l L ' - U - D ^ '-W—L. u U k i v M - ■ t "iV ""IL, .... w ------1------

' --W------^- — k - t-5 = s- = : ^ _ _ _ ...... - c :::::: I f f - Î /— V ' y - ' y 7-1?'^ * # ■9 ? the end- , less glo— — — — Q H T r ^ t- 1 -r - {-' r ' -p|,..j^i-+H U Ü u L i 1

... 30 .. ■ A — ------:------:--- —

-)ff~ -•••'----^----— . . . v - ^ ...n i l : ^ = # : t : :Î--Ï \ m O • f # .... 777^ end- less A1 A q:f, 1 1 M / >->- m i , , , , l - n ^ - F = r l y Vy / / / >- j!_|—1___^ r ^ J- * * * * » ^ f * i 426

V - , 11) i^.;: ------— i------^9------

= _ = : --- 1------y - " i ----- Ï------CSi------^ ^ — " - X . / " — — ------r y s of the King

% n ^ ^ . f f - i',' r J ■ ri - Cr ^ , ^ f J j. j

W : Ü U U ' l

;f;r***‘z~. ' ------pn------f ------^ T ® ------U .,IJI.il.H tJiJ||||^-

L ------#w------.< p f t ^f / ^ / / i> .: ....1 ...... Q lO - ______

pl.. ^..-V- , ^ - J'4- ^ i -t > ■/■ /_ /_ y _ '■ trh 0 1------:» -'f\"-- _J u u -u IT 1 r # r ■ r- FË!2zs : s i | ; li-^i-i 1 - l Ü I R T ^

4 ^ - - =1=1= - = ■ : ^ - g n ' r ^ -ff-1 ^ ?77TV?^;-J___ LL , ' f '7 r^yr^yy ------— r.... y y é f / ^ V______King

_t£>------:>'V ^

k $ X. :r I M_ J_k_L X / / 7 ~ 7 3 " 427 One of the Gods

- z r r

Hautb(^ JL È a - y- * {_ « V || p I E g One of the Gods who rule on earth dee* cends to vis- it noir the Plain :____ & g ± >•_ t *V m

V — V . y 3 : i - f - - 1 - -F

z: t g E a now the Plain For him for him we bring fcrbh all our t 0 ---- ;— 3± g ....-r f

10 ■V— #*- f 4 = w g 1 I k

tt f

n ^ h ^ f o r him to sum-mon you sum-mon you sum-mon ± i s r r

#- -7— ^ t = è Î

V 7- § I k - you sum-mon you your Train .sum-mon I you I - your 1^- Train = t r P Î t. i = F Trio Airs 428 Amin tors vratchfull Care maintains

Flute

Flute

ain-tors natchf uU

VS*

Gare main-tains A- 429

fflin-tors latchfüU Gare naln-taina These quiet fields from

harms tis wis-dom awes the rough- 430 20 I w

£ n z x r t

z = z r ^ IË a

a j__ z .-ZZZE a ? - - - er siradnstiiemild his goodness charms when Pan when t = t j l l . j r r

Pan . when Pan when Pan Irecian shepherdsthe 431

nere iras more He nere iras more a dor'd

fearelhairGod o bey’d ire out of 432 35 ^ ------1----W 4 h T— 1--- ; ^ = L J ---- 1----M- t r -H— ------“ h — z

^ ^ ' - ^ V — <^-| --Ï------b — ______U 2 = t = -J------\------1------

-^* j. a ------— ^ L^-î------4 — 7=— ' y % , ^ : — ;.| ^ ■ = = 5 = S = ------u-l----- Love out of Love out of out of love ouf Lord ^ . y ^ ' y 1— -T-1 \ 1 \ \ WH ------h------~> — V 1 ------

liO y é ^ -iS. ^ V ■»— i ea

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rr

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15 T i t

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with heaven- ]y Charms 437

Once

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20 i i - j -1 r S m O '-/— ^ JL. 1^; s

Shep-herds 'tls the Shep-herda'tis'&ie Shep-herds~Ho^- .. ^ ^ u / ^ TT f- dL_ I

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Tis the Shepherds tis the Shephe r d tis the Shepherds / ^ - 4 — 4 - j£- -Ok. c? a 465 3$ ' - > ^— <» ^ o m

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a

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------

day

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daqr

9 ^ ---- © ------^ ------468 Make hast happy minute

Make haste happy minutes mato haste to Gloria her ilo-ver re-B ^re a n d

II

trouble is past that Pan may torn ment us tor ment us tor-

2 0 -

ment us no more no more no no no no more no

r W - r ------^ - f r - h — -V- F T t r ) n r j — -y ----- P —= - -'■ p— r j * L_ 4 — P - -1------7 — ----- 1----- H - P ~ ^ 0 ”3r # 7 y more no no no no no no no no n 0 no no no t o r - ment us no more no •^-n ^------:----- "0 ------«f------^------d»----- ^------• -, ------/ ■------0 — •J— —'------K— — r 0 1

n--- Î4-1i- — — p.— fV|— 4- —h-- FT—''1)": Î P K— V A. -0— -J: ^ 0—

no no jw more no no no no more no no no no more no no no no — __/_____ :%;jr ry— t7- TT—1 -- -- 3T- - 0 — — -t— 7-“-j- /- r— — ' 1 ":::v " L ^ _ , n d u --- 1—-4 ------A- 1- - w-Ji— — H

4- & a — -±— ^ #-17=: ✓ • y* y 4 ? ^ no no no no no no no' no tor- ment us no more - X '- V

i. i-J 469

Uake haste hap-py ndnutes make haste Clorls her lov-er ree

Uake haste happy minutes make haste Clorls her lov-er res

Uake haste happy minute8 make|haste Clorls her lov-er res

Uake haste happy minutes male haste Clorls her lov-er res 470 10

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V-i h D X \ 1) h . W - — t u ' f n - 4 — -n— ^ ^ 7— -3 *— Ÿr~ Vï— zrzjp-±z ^ ------K“ f V tore and grant us ye aods'whenlhis trouble is past that Pan may tor- fj- 1 ------tv-1 T>------Pi"" h ~ h — f l — f ï“ 1—4 ------r r - K — b u ------K 4 - H — L 4 J — — \i— P - ï.-4 ------^ W / d L - ---é.----- g----- _/ ------f — ------. ; ■' ' ' P tore and grant us ye }ods lA ïai this trouble is past that Pan may tor- j)- t n ^ r> K N ---- 1------y I X ' y -----X-

-(/ ' u\' \ ' ' ------" ^ r, ■> : ^ * ' 1 u — V" tore and pant us ye Gods lAmdiis trouble is past that Pan may tor- ! M l \ rx i ^ ------= ... 1 f ) - M î r _ £ ------, 1 . ------— ------. " V ■-*>■■■ 1 ) “ ...... 0 -V ------L----- — ..r H4— ------tore and »rant us ye lods ih a i this trouble j.s bast that Pan may tor- lo lo X ------—,------î H ------h - --- —1---- 3---- #*— h-J- -X-— — ^ ^ r = ^ ---- — -j ------7 ^ . 471

ment us tor-ment us tor^ment us no more no more no

ment us tor-ment us tor-jment us no more no

us tor-ment us tor-ment us no more no

7 ment us tor ment us tor- ment us no ire no 472

no no no ^ore no more no no no no

more no no no no no no no more no no no no no no no

more no no no no more no no no no no no no

moreno no no no more no no no no no no no 473

no no no no no tor. ment us no more no more no

no no no no no tor. ment us no more no no no no

no no no no no tor- ment us no jmore

no no no no no tor. ment us no more no 474

no no no more no no no no more no

more no no no no more no

more no no no no more no

more no more no no no no 475 m

>

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P=R =^ fczfe

no no no no no tor- ment us no more

é ■F>— 1 ^ t M = p no no no no no tor­ ment us no more

|j

F no no no no no tor­ ment us no more

» i T 476 These gentle murmurs

- ± J L SH z z h 'l — F 1 Flute

± fjz.. h ^ Ï Flute ' M- l I

± % P» -H

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10 ' _iC_ -f T-V- -T<*--2T.f:y3— #■ i loud soft m

y W w — «PL I loud soft 1 -I THT jz Ê: - V loud soft These gen-tle mur- murs gen-tle mur-murs p JËL Z_ü_Z Î Î

IS “*S*" i Î loud soft

p"-

T - n r D l 1 - 1 W ' loud soft r*rv 6 3 ^ /-V " f e p loud soft ge^.-tie mur-murs Len-tle mur-murs gen-tle mur-murs ^ ^ yr- p 477

2SL z : i i i

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V 3 Z Z Z ? t = F

p as— - - -sioniand best our pas— - - -sioniand •sions move >■ " j ■ 1? —- — f <> M = f 30 - W ^ : ------1— ------ma------L - 1 '

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K. 1/ . . 1C, - -

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1 1 ) 1 1 — 1—\--- —'---- 7 - 4 - 4 ---- 5— ------1- --- 3-- Z!“ T t O : ----- 1 u

ll ^ A - v ^ i c I....I---- ^ --- UZ ---- /_ ------, 4 ^ ---- ^ -J— -y—f ^ — 4 i ^ 3 = d = H ------4 - 4 - j—: "~[ I—. --- ^ — ------4 — ---- 1 ^ u 4 ----- *- With pit-ty they in- spire our Maids and teach -• . I ----- ;------4 — q d - /p "<--- — r-J--- 1------1— 4 - 4 ------H ---- 4 - -©----p— ’ 7«£7 A— -- »«— ^------h & ---- ^ i-ig---- (—- With 1 pit-ty thoy in- spire our Maids and teach \ -1 L_---- ^— U|> j,„ , r

-*- •é- Vi ^ (9 ^ -j------^ I f — Ô --- — 1— 1— 4 - -i^U-u--- j - 4 f - 480

I i

s

# 2 Î Ü J! 2_ m 1 = F

IÊZZ e Î

teach our youth to Love with pit-ty they in­ spire our

% V — gk. ± Tf gk.

teach our youldi to Love with pit-ty they in­ spire our

g % teach our youth to Love with pit-ty they in- spire out » -1 W bf 4 - ^ ^ $

teach our youth to Love with p i t - t y they in- spire our -é- ~ y ~ 481 ±ê: I G

;S f a

4r'b J '. I : ± F T f a ^ lj~ É ï

ZE-/• ^ |g ± $

Maids and teach teach teach our youth to jLove and S I t ? 5 Maids and teach teach teach our youth to Love and ± ^ ■ V j . 4 i <3- I ? I 1 = 4 Maids and teach teach teach our youth to Love and ---- '^~ ' y s 1

Maids and teach teach teach our youth to Love and V- Ë — 3T i e z = ± 482

teach teach teach our youth to Love

teach teach our youth toteach Love

teach teach teach our Loveyouth

1?

teach teach teach our loveyouth Composite Airs 483 To Hill and Dale

"*!T" i Flute

Flute

-zr ^ g & To Hill and Dale to I

-iC ^ clck

IE r..l M

i i f e Hill and Dale I tell xogr = r- >^ V— f - 4 - 4 & g 2. $

TSW I ±1 PPR FF

T- M U ' - ' To Hill and Dale to Hill and Dale I . ■ by f f c = = 1 ]-. m 484

15 tv- ./

. s t : 21 Î M F T t

-.T^ O é A ; f e tell nor Care t z - T— z— 4 4 - ^ & ]y/ ^ i

20 i -BBT m e z = # : f= F = F B z W r \ ^z - K ' Aw'P«t "T p L L ^ To Rocks and streams to Rocks and streams boK I hoir I des- pair - - JL t d : b z z (»Z- FT r - r i i H - W 4 25 i -=r

Vi4" “BW

z z T z- w J i , m B

hoir I hoir I des-I. pair hoir I des­ pairm hoir I how z 4 v — " ^ I»/ k I" h_ ^17/ ^----- g FF Î 485

JO. m

5#: z z z ü t -C- # + - ^ - L I

TBW-

1 des- pair U_^_ ^______-k J t LL’ s

3? V*"

WM- -4- ? ! > n ~ r r ?

S & _mu_ z z = P g ■I— H i t f i h Js dc s I e Aith-Jess Tdacls n jIh j^or-tane^mo|^ik- - 4(r^/ ifi> •;: f £? '■ J * ~ ho * 3— Friz - j ^ ï ï

/ - ■ / !T k £ É 'TW F- S

:feg; g 3 N q # t = » 3g. tb . T h e Hinds in s l^ in s i^ s nQT plaints re- ZLL Æ 4 ------

as ^ ^ ■>> 50 I’ y ^ % I ^ r , / L L ^ j . j S HSS- i m Violin 4r- FFF m S Violin

turn -A, ij-k i=t >^m2b s . f — Ô- M =

t m

soft loud

The streams in murs

60

y /

Dale The

xZ O- 487

.oud

streams murs Dale

2.

75

Twr

And hol- loir

80

I 2 L a . n*- g

-cr==Y I ■<ô- hol- loir Rocks fate be- wall t"®" g> 7 z d ^ . ■ ^ — ZL B ZE m 488

85 "ULwr a a

g> - C>-. ^ P m I I n ec- cho kind- ly they p ^ay moan re. ■— i?o g : Â ■ - Q i 3 0

9 0 .X » ~g~'; am ---- CM---- #lp±:. - — ^ 1 fag - f f - It 1 1 1 ' \ ! 1 1 1 1 4-r-^------I— 1--- 1------;— 1— ' j z i k a — J - , ^ - )gg— ------

1 e> -i._J!------_ — e — ■ g„.-,.0- 3,^— , L ^ _ ^ ------— ------' ■" " 1 1 "l » i 11 sound And seem to feel to '">' * I a 1 - \— \ ~ _f2----- ^ _ ----- 1—f - J—+ - f e S d . : ... L_ i — -- a — £ - 95 100 KZ ~ w ^ l^~

Û .— ^

I ' M . M i l «J &' <•

feel ay wonnd And seem te

/> ^ ~ i — S 2 . i m 489

iQi. jQLa

-BMT f fee l seem to feel to fe e l SQT wound J ê i û_ |p 2^Z3SZ f = F n o ^z_

O ’ < ?

^ ? hTg- ~2r~y E —C t r ^ He he he on-.s ZE: _o_ z z

z n r z

he üiat dioüd hear is d e a f he he on-ljr he that can give re-lief des- — ^ s: O- m

120 A -E i E 1 R I- -P 9 p is -e s me des-pis-es ms and mocks and mocks my Grief - - 3_b___ t § ^ ' " z : 490 What voice is this to me unknoim

— ---- — — ------1 _ - .. ■ ■ : ..i::— - ?5------^ ---- N — 1 Violins only 1 t e ------\J------— -- k — 1-- t> -4— — ---- 1--- ■ -K ____ 1_____ 11 — £2------g ------.... -■■1 : 4 ^ - V . *■ v > " " ^ ^ ^

\ r ^ V.' . ^ - 4 -,— : : /> ^ ^ ^ .} - 4 — 1— —— f-— I 1 1 ' ' : --- :t— ± What voice is this to me un- known what Noise ------ill ------— 1---- 1— M - d?* .... -aj— o c=> *

< p .

pleas >ing shades vex- es our outh dis

10

andturbs frights our maids Hence hence from these 491

'©-T- 32: -e- . "sr 4=-^ .2 r-^ jSLI i

quiet iroode be gone be gone from Ihese qui- et these qui- et ^ ______-- # .g-..4

,20 -4— ^ . _i2.

O' 0 Ê g 9- t Î & F F ' P - quiet moods be gone be gon&be gone I know thee by thy r *1

g ZE i r n 0 -% y -gr a /- T T — #r E •j- W f P i= s = t > Hun- - - -dred tongues thy hun-lun. - -dred Bares and thou- - -sand thou- - thou-

3 Z

i 4L \\ t f f Yf f ffi f f \ 3 :2 : E P f - | - - f thou-sand Bies to Court go sing thy -4— 3t 492

-r in g songs a-mong the great aqperaecAy lÿea nor raise confusion In our

peace • f u ll Land 493

V-TT

I ^ - ' - 1 -

-i» - f

And 7 0 U who Reign Td)th Pan be-

10 h = ± g 3 e

-4 it- l - l ^ <&. ± k ? i " i

% r > 5

lonr And you «ho Reign «ith Pan be------éL. - w r nA- £

^ J . ' ^ J L IS ,Y"' V JLL ^ é L it5 E - F - F j h a

F I : 'I $ ?

- jf-/- ; ~ " T ^ a

low a s - cend as-cend as- cend as­ cend as-cend as- cend a$- -T#- I»- £ 1 ____ â._____ Z: i Î 494

20 — -/■ JL /Ù' .± ±. jL ^ 2: F ii- s

i—ht I

f — àr — 1©-!- s i ■1 I' . |. cend as-cend as- cend And you who rove

g>.». ?

25

P Z: E «■

~^~y~ ■1 l) '■ M s V 0 > ■ r

g. f-fg Z Z T 2 I $:z_ m f f g z - % z Z: 1n Wllds Or -/- ié 9'i, I f I 5 S H H Z 2 S : ■g> >

30, m

> - V — Ig y -^J- $ F T = F s

-e-L

press the Vine or watch In Fields lAo use the g>»_ — y larr

ik I I' !■ "ST y?-:.' ' ,

495

— ------;------r - f : - f - 4-^j--- ' W-M

+ - I'd n ------^ — f —"*—f — ------x r - / ] - 1 , n ~ n -A ------// .....— 1 ■ -1 4 - 1 - 1 ' 1 u -

lËiL^ZyZZ^Ü 2 t— *1^ __ a _1------^ I r — - Lr Jr _l1— 7 -F ------— 4------4 — ------L- -1— 1— A— 1— ------f:------1 Crook o r bend th e Bow a p - pear «ip - pear a p - h ..r .....- n ; H -| -t- 1 ■■ -t ... ^ ^ / f ” r ^ '"< ^ -V ------(-T------\------3 ^ ^ — 1 t t t p — ^

------=------f r i -- 1" ---- W: - i - t r t H !-l '------■=JJ= I-UJ 1- -

t r - 1- r r r i 1 1 1 t i ...... - ■■ ^ 1 ' ' -Sh J liij' f = ^ y ^ - ^ I - n i ------< — — ------_ 2 ^ ^ --- — ------1 - . / - ' . j i—^ pear a p - pear a t hqt com- mand a p - pear aip- pear a p - 'j\\ JTTi 1— 1 ... |.. r f ' t f c : — :— i - ^ - : a —1_ LLiJ" ^

—e ------f f i f t ^=F=P= i i f

■TP....rm ,■L ^ n 1 t J mi:=e-. ;■ ^ ^ / C»

---- i * ^ ^ 1 ^ 1... -4-|------^ ’i—1 ^ p e w ^ ap- sear a t hqt com- mand 0: JJT| —1 : j~i ~r~ -^1'— 'ra!------^ 496

At Pans dread com mand we leave work- Ing and p lay

At Pans dread coDHoand we leave work- ing and p la y

>ans dread ccm- mand we leave work- ing and p la y

At Pans dread conwmand we leave work- ing and play 1 ^ 497

i t i

zzz 2 Z Z Z ü f ^ V-'

■9;~'»ÿ - y -«s>- a S ± X- i

X y X X l W 4 irait on his call which with Joy

I 1 I X X 1 1— 1 - 1 \ I 1 1 ------Xa-- ,f— ' éT . x Z = Z X V- w a it on h is call which with J

± = t = F

£y— f- / /.. .,#T I r 1 i ± = t X X t t — — * — Tf6 0“ bey at jPans dread com-^oand ire leave I:' 1 r 1 t = t = t -X X- ngLA. bdy at Pans dread oom-nand ' ire leave

E f i n M 11 ^ me ^ " WB O* bey at Pans dread oom-mand ire leave

—/- ! / ^_ z z z 1=:: |- | ' Z j M — — — — ire O"* bey at Pans dread com­ mand ire leave X X 7 ~~ ~y I#■ ' - r - N l 499

work- ing and play irait on his call uhlch with

work- ing and to wait on his call which with

work- ing and play to wait on his call which with I

work- ing and play wait on his call which with 500 20 I--J r -li

I I I i = t = t I - I-1- ZHZ i L . /■ É)- 2 .

3 ~zr 1 = t

w £

Joy which with joy we e-

= t = t ¥ Jg C — 7~ z : ■y— y- Joy which with J^ which with Joy which with joy we o-

d; - ■jT — r - 1 - I" I % Joy which with Jqy irtiich with Joy which with joy we o« ------y— y- 3 c ;:'3: j(y which with j

bey wait on his call which with Joy

c? bey wait on his call which with Joy which with

bey wait on his call which with Joy which with

bey wait on his call which with Joy 502 25

f- t

s I I I j= - - l I i z :

— y z : i1- r I i=F

?

nhlch with Joy we o- bey 1 r 1 v ~ ./ y y & zz: -Joy- -irtiioh-nith -Joy irtiich with Joy we o- bey

/ <...L

Joy» which with Joy which with Joy we o- ’ bey

# 2 _ _ k _ -ÎW-- nhich with Joy we o- bey

# « F=F 7 — z : 503 Appear old Hymen from thy Cell

n - A ^ - F t

¥ Ap-pear ap- ^ar old Qy-men ap- pear ap-pearflxm thy C e ll wiere un

T T

J'b ^ - " f T -f"»- * - 1 , j - t- 1- 4 — r 1 "1 - p .,v - ..d p. 1-^ ...W _y_ .... f ] r Q - ÿ ' 1— - H

------y ------y------■Vf ;, wy J- ■fPl+»7/7rj I YTi ■ y 1

SpOv^vOQ lUlBpo vmOO pXvA"* n i " - i - f j F ' l 1 i j i -y-

1 .. ^ „._^ , ,..l r * i H — — 1 P 1 p ' > » p 1 J.. , ...... -.. ■■' - 1- p r u ~ d " ' ^ ~

■)-h '—\----- ■' - yr- —y ■ 4 yT v/-y-^ -j^ X - m direll mhere un- spotted unspotted plea ■ n .....r " ■.'■■ % ------«------^ — f~ r 1 : -i— y / : / / ^

1.1 -P..W.J- | | — R - | - # 1 ^ ------y— 'M ...< J . J . ,. j ..

/ —w ^ y - ^ y -— ÿ- ^y*' ' y" /— - 1------: f rr-. r ,.. T ~ F - | : '4"- -4------W — L^=— dwell where thy Torch with beauteous ii^t tn-uB^s ^ 1 ^ i— I— 1— '— '— - y ------M - . ■■■■-f. ■■-- 504

20 -P M- |'~d^ 1 ' t . " • p i i n 3----:------r M X" i

^ y, ^ - 7 ■ /, Ë 1 u r î = f 1 1^ 1 "i' tri- - - — - - •M-umphs ore the shades^ o f n l ^ t A"!- - - .t . — % I - T "f| . 7 7| ?- 4 Sk # 1 %-

f c = 8 = t n H-. I--1 m v -r z c £

2 : I Ï y i u I - p 4 - -unqpha ore the shades of night 3

25 30 E E2_ p : s lesS- Î e iL -i5»- PF ^ fc z : 35

/ - f Z 2 % = Z f = Z zc i $ Come ;ome a t On- pids dread com* mand come •fi ^ _6 __ e 505

llO m

z ? : FI I 1 i a ■ è i I & come at Ou- plde dread com­ mand joym these Hap- - - - ^ __ — _ é . t 4 - h & Î 50

■)u ■ ■< ------bH------177. 7 1 ' ' i ' " 1 ------Z — z_ -\-\-

-4^— ?— 1 11 f ■ '<\ -1------1— t------■V------< - hap- py Lov- ere hands a W — 7— i - --- f = ^ / ^ / Z*_«:-----: -----£_ r H : 1 t ___z__L_., 4 - '■i—i-H -M-l--]

h rl'-r ^ _ - J t ___(— P -b lr.— £ - 1^- 1- LcJ 1—jgL------$— J.." 7 - f'

./I’ ■ \w" ——' ------■■------■e—---- ' - i - -J -- d_ ...... - W -1 Hap— - - ——/ —— ./ / a: ' , — 1— ----\— -/—(—/— ^ ^ ----1—_uzzzzt_ w = w h- I'- H 4 - 65 |])^: 1 j # f ^ <• J — ^ » —(- # = M =

------3T- 1 1 ~ v A ■■■■ iv ^FÎ^'T f " 4" 1 — ~\— r------— X 1- I - k - )..I-: M = i = ■Lt T.— 506

70 K, m.------^ ------(«Oft) *g7>,------4/9 . /-> l’~ 1 fc - I : y — 1 ' 4 = ^ 1 i ' " U A ^ ev- er joym'd He be con- 8tant He be con- étant she be _Ja---- L----- k "6 r ’ 1-' --^ V y —;------1—— F."..| J J...... 1 y - ^ / - y ^ ------^ " > .i 75 80 ■)p #" --- — ------— Z=T (soft) \)u<^ y*--- 7---7“ k W - J 1 cb:b 1 1 -J 1 V’ i 1 1 /■ -> i 8$ 'W"" " ' --- ^ ------a----- ^ [iwjsg L v 1 ..- h - -75»------^ ---- art------ÿ^E------é.---- é.— W# con- 8tant she be kind Je------^_ & . $ a: J, 1 J — |— -1---- 1----- r. 1 >■ --- / ---- r + p y U—/ — 1— y + H - l|' ■}■ 1 j i u - i ■ ) k'd' 0, " ■■'■ >"■ V ■** ^ , / J 1 1 M ------e ------N = t = 1 ... " l i - - U j - n k ------w-----

fc. ^ 1 " 1 1 ./ '• r 1 A ------J------—3— 1 ~~l'••/ y - V j WJ 507

95 100 îfcd: É *— y

y = t -3=)- t = t <

a -^-L. p m m

Idnd I»u 508 Hark iriiat dreadful notes I hear

Trumpet

Harkl Hark

jjjj f 'ff f

f -f- 4 /

Hark mhat draadfiiU Notes I hear zzzz

Hark Hark

ZZZZ

Hark lAat dreadful] dreadfoll drmdfuXL Ndbss I hsaribUf Clang 509

20

E r'-- H Il -I.. n i - 4 $ W» 7 7T # ^ — ^ 01 - -or sure mis made for death, our Pipes Flutes have no no

■S' no no such tall bream Thsy ease - - - our pains they sooth

8 il f - * f)' K r’ i 7 T 7 — -- y, 7 ^ our care These sounds mill drive- US to des- pair b W b z : I 1- U 1 - J 30 f

; ,. p .— l|V- f = p : p: ^ ?: y .forbear for- bear^a% youryi ^ dreadful! dread-full Notes for-

T m 6 È Z Z Z z : € i r, §'. Q ~ t j 510

Aw- «

i - j .; I -e- bear for-bear for• bear for-bear I

e *n 1 u 511 WhereJ where's ny Pan

—P 3 ~ ^ —^ —— - j — f ‘— f)- f - n - h - n H hté* ^ f — 1— i/z-zT-p-- 1- C: Where irtiere's mgr Fan aQrlcrdny love why f]ye ...... 76, — & ----- L., fe::. -r -~j

l_gg___ s -- =-^— r-A -- I r n ^ J- r------$— I■ ■ 1 ^ ^ ^ a g ] * » ' / — (----- ?— — L V Y ' V V 1' - L j j f Grove why why f - he from his Cer-es armes for mor- tall ______J l k ----- % -- a - 1 ■ -- — h - - - 1—'--- 9 -- ^ — 1------j L --- 1------a ------jO. ______Q . i - ■■■■f f ------1^ ------1 - - ■■ ‘

leare ÿi^mor- tall JhÉme» Hr nxr-

V

charmes

ZZ Dialogue Songs 512 I've courted thee long

%rmph

it. ^ i t

Satyr I've court-ed thee long and I swear now by ^ = t - r r i . . — ,pz_| ^ err

------: 10 h P — - -

— ------^-- 3-- ——1 1------... CM— .1 — ------##--- _>_*---- ^--- 1--- — W7------3»----- ^ 1 f ' y. >■ r " i """ -1------1------i ------H ----- H— 1— Pan I'le no more be put off with fair words like a Han Corns — 1------\ — 1------—T- |g'b-:l. 0 J ...|~ o ------— \ 1-4 _.__z— 1 .- _ '. . ----y:— t -- 1.— ------1 — — ..... ^ . c? • 15 ^ ^ I 9- ■A A pray let me go dye if you

$ 4 = F dear to the For— est t: P z : z : - y - 20 a : ?

hold me ao close à i z : Do you so you think me not hand-some e-

a , " P ZE I - F I 513

25 I

V ^ Î — V p mough; if 7 0 U kneir hoir a Sa4 tgrr aakes lova you*d ba- Have yicni'dlgba- i z : a: I) i.

30 é f Z 4 You smell of yoar Cava you feel rough like a

l = M Have I might do zr jg_ P ~2V~

. i _ _ a ----- ^ — g - j :— ------r-BSl------

' 1 ' - - - Bear you've a Tail like a Dev-ill r\> , ' - H ------^ ____ am------£ --- P'k ...-. ------b p . T- . .L, -z?------h - M ---- 1--- and yet none to spare some , , 1 1 ^ --- 1------1------1— — ------— h ----- z : ------2 — a ------^ ---- — i------' ± : p H - . M ------E "1 — ^ .

k o

— #- $ I I .-V # = P E oap- rlngyamg Fop eith gay Bib. bons and Crook and a face that — e-L t - r- / I E 514

h $

i .. .'V" |; p> F shews he can 8 0 naught but look with hie #- ma- T j scent and his * S k JiL______-d-!-

«hat then g ''— r ^ $ -K " P Lav- en- der Cra- vatt shall ask for th(f fa-vour and shall Xo______g. « È *

. ------:--- 1 Æ y y ^ " ié------m ------^ -- -- p - - - -... — 1— i — % — — 1------—— Oh Help Oh J*' 5^---- ^ ^ ^ / — -- ÎT-- h ^ ^ ------p_ z:S— ^— '.r iTT" 1 ' ------“— --- have it Come Gome no more words Ik in hast we must fly Come come no more .T,— 1------rn-23------^ ------H------1------J ---1- ■ •-■' J ----- H — 3 ------\------^ ----- — v^,.. -J M ------1------is i* ^ lb / i . Î

help Oh ly/ fÿy t j Oh help help help. . t — 9 ^ ^ I) F é , xip f = F 1 ; p -I words Iin in hast we must f ÿ fidllbetime to cry out to cry out by end Iqr t'uni be

'— I I • — t 9i i $ Î e 515 60 nrr 0 T I oh help help help oh help oh fjr fy ii 3czz: t>- M W ' i~~fy 17 g time to cry out t*ir*.llbe time to czy out t'mill be time to cry out by and Come Jzife______I Pf Î t Î É •e- A*-

i e 516 Our work at an end Ho ± h .. /' I : # i E t t 2F Z EJ-XXI t Our vrork at an end well a wiile go to play to leap-ing and Bind-ing a-J no-ther fino vray this .r\ I / -r-A- t l<_LyrL Î =F $

1 i <7 ^ • 1/ ^ . - /* - J. t ,- yf - • } ^ ^ -- - / \— J - I - - zzq;;^ L::. -t±i±= -4— C 7 7-.... "j-- J '- f- ■ ..... - 1 M r 1 har-vest well in for the ; next we ?d]l Plough and if we ex-pect a new j crop we must sow 1 1 ' -vl U ----- 1--- ^---- __l------1-- 4 I-- ...... — ------1------&-- - -V ------^-- ^------L^S2------1----

10. 3 h a _ 1(7 L - w - z z .£(•_ & ■J__ 4/- E p-f- E Not so has-ty you’ra too wajm thus; all ;Bont-ors for a year when they ------tsf---- -o- t = F IS --- — r-— ^----- — a ------\--- —»------.. f - T : .. r~-i ...... — n — - « = _ — M — 1 , i 1 1 )y \ i XÎ7 1 c3 • ‘ c;> I * ■ ' i 1 r 1 ' ^ i mean to leave a Farm caro not ;what they ware or Fare Come come t* \ ^ . 1 \ \ 1 rv. , — --jn ------1------J------1------:------!— 1------•— '. . _------. 25=------.... i-> ,, ■■ -t 1 Ï7 !r— ^ 7 ------:— ------20 -zy- ¥■ :g-— i=% - - ^ z : s-l> zh ^ - - -r --- #- man since you’re so stout take P =Lease M = on’t f and be mer-ry there’s no - (3- I xf -45»- -o- a

--- 1------€------^ _ _ q _ z z r - . ---....f— ----- ^ --- -- ^------|S*------^------:— ------1 --- - y — P — 1— 1— f — ------—>----- J------r — 1— I— '— : fear you will viare it out when when you’re ob-lig'd ^ a jf' ^ “ i4i---- ^ ------«2------y ^r------y ----- ± r i _ ------...... f . 1— E - - 517

h f - f .. f ■ f J.. f = # nhan when whenywte ob-lig*d NfaBD you.’TB db-Ug'd to tar- v j é * .<.-z: .,-z:^ -. I.....— 1 1 ^ f ^ ± T

];fe ^ - t Z = É I k 1 I - I u i l I talk not of Leaa-ea I hate 'em I hate 'em I hate 'em ngr Hon-ey «i f (_ — ^ ---- V \ .g-ZCZ

— o — -e> I V.- -^ y z z

yo!a(rèiOq>fy held Lauda are fia* me n are for men for men that have Uon-ey when I ^ > — ---- 3 ^ -- 3» ■ W ---- W- 3 ---±- I N -f " f l ' r t r v - Î

U o I / f .. zzq / ■ y . „. r i Ÿ K ]'4fi--7j tW rent atBQrwilll can do aa I pleaae and had much ra-ther hold and had much ra-ther ” ~g ''"" ± = Z L I M - - . ... : -^1 M t s i

hold by a*^noth-er taanfsa Leaae and had much ra-ther hold I'. I ,1X4 f ' T V r * '*u^* L ':;— ' Î

i I ;il> I y I |! ^ r i r *? and had amoh ra-ther hold by a-noth-er man'a Leaae

9'|> if p % n 518

Shi g t Tou and I shall ne- TOT deal Pat put an end then to the ^ ^ ^

5 5 2 - & = t # z ■I ' p K Strife Give me fbathgfareme both your hand and seal and the soil and the soil is ■ #g / # ______I I 60 He, f - # z I IM H i. * r i'? I - I I K i/ y I ' yours for life and the soil and the soil is yours for life By ay i r ~ R 1 ~i 1 65 -3 - y t = t : F = ? = J $ pi' I - 1' ? i - f - 1 F p f troth tis too hardha as the Tax-es go no» irtien ay Landlord paid sQl I yore free-ly could'so» P I ,-l I L l

She a for

z = Z :

but since I have try'd it and kno» hoe'tidlL bare „ tis a bar-gain be-tseen us ;3E=z] b / ' ^ ^ iép— '— , ! 1PJ :pL g m 519

20.

f- life Tie a bar-gain be-tween us for life for life -iS— ^ Î & For a year for a year for a year Tis a

i— H - f .fr-J ' If ^

Tis a bargain for life for life ;S Î :3È » i- \- bar-gain tis a bargain for a year for a year

# = t = Î I 5 = : Duets 520 For Her ire Crowns of Roses wear 1 F m

& ? & £ g

For Her we Crowns of Ros- es wear which both with

naamiii'Mwmm anmtfrjÊmKfM 3 = P -f- y 2 = ^ --gg- L \ t = à

—r----- % = - tr H F F t = ^ * t 1 U h r = H - t d -- -W — U ' - -It-- /- chear-fuU chear-fuUh chear-fuU chear-fuU chear-fuU looks re- b: ^ -,------U- T,---P- --- — t i = t i b = d d : ------&:

r ^ -----S-T- 7 ^ ------=— A—1 H— ------Vt“ -- 5»- _ ____ M—_|------^ 1 / d = 1-- ^ i d And with as Chear-fuU Chear-fuU chear-fuU chear-fuU 1 -A __ __ 6^— 1— ^ - < ---- «- — b --- 3 -- A- - j — r } — H- H— ceive and with as Chear-fuU chear-fuU chear-fuU 1 j 6^t— 1----- —I------— 1----- y - —#------r — -1------— / & — — 1 ... - - I). > : z = t r — ---- U- L - j ------521

hearts we give as Chear-fuU chear-fuU -----

hearts , we give as chear-fuU Chear-fuU

■)l, / f-1, --- LLI eït_!N--- — ^ ^ = ^ = = £ = 4 ------K-- U .. I''- hearts we give Thus lev- ing lov- ing y 6 ^ ------r r 1— .... n H— ■ / .. /" ^ — - L = — k - — 4 1 - -- ^ — ----- . — F— hearts we give thus lev- ing lev- ing lev- ing lov- ing ■* lr\i — r mm^mm_|__ r -T.. ^ ------K- I ^ Z 1 KH?I------—:----- 1------\ '--I---J

io 35. ^ .

5

lev- ing lov- ing lev- ing and be- lov'd we U v e thus y- 7 ~ E 2 a

lov- ing lev- ing lov- ing and be- lov'd we live at /_ y - - / f h: e g 522 Uo a — 7 Ï & 6 g lor* ing l o T - i n g lov- ing Icgcsj i n g lov- ing and be- ^ ---- -ê" ^ m § e ,thU8 l o v - i n g l o v - i n g i n g l o v - i n g a n d be. 2 T Z . __iL - j L. JL — .a--- < — 3 —: p Ë g

- H - f i a:— F f f l = t = ■■■ lov»eI w e l i v e I I k t t a c c a J — ^_î---- s ------M- 1 _____ dL. - 4 ------— 1------l o v ' d w e l i v e

© H ------P- ^ ------7 - .. . 523

t e r Vr. S = F 5 Thus lov- ing lov- ing lov- ing

h £ i t e 0 ^ Thus lov- ing lov- ing lov- ing lov- ing lov- ing

a t Thus lov- ing lov- ing lov- ing ---- r — ^ a

Thus lov- ing lov- ing lov- ing lov- ing lov- ing -V- II.. 3----

S r - ^ -1^------1 j h 0 — A- u y ^ ------1>—fU f H lov- ing lov- ing and be- lov'd we live thus lov- ing

"r-M--- -hr \ h =& fv P i - Tr i U':—1——Cl - f = h r - 1 — -n#------^ ^....- 4 ---- 5 ^ - : t z ^

lov- ing lov- ing and be- lov'd we live thus lov- ing

- h r ^ --- *— # ^ 1 1 » i r — - f ■■^ - y - ai— j_ 4—-F- 4 ------h -i------— ^ 10L - ing lov- ing and be- lov'd we live Thus ^ . i e - > ------f»H y ^ IU)in\* ^ |— k - 4 = J h = = ^ M — 1------lov- ing lov- ing ind- be- lov'd we live Thus ^ .je 1 i 7] 1 g— f - If" / -iir — ----- f r z r K N

V>1 M -- ) •■' 524 15 £ a P & E p lov- ing lov- ing lov- ing lov- ing and be- lov'd ve a a

lov- ing lov- ing lov- ing lov- ing and be- lov'd ve

4 ¥ F « lov- ing lov- ing lov-^ ing lov- ing and be- lov'd we — 0 ^ ✓ -É.— ^ ir i a

lov- .ing lov- ing lov- ing lov- ing and be- lov'd we V- ^ V- X , ^ ^ 3 = 3 g ^ h

1

live

- h r H -----

live y V f 1 live

^ --- y h 1

live

^----:---- a a ' r 525 Plenty mirth and gay delight

J. vj .1. "gr" s 5 Z S Z a Flen-ty mirth and gay de- light and gay da-

B da-Flen-ty mirth and gay da-light and gay da-Flen-ty

*

||0 -6*- P 1 M I- L i. U light pleaasant deys plea-sant days pleasant d ^ and f i f f / 2 :

light plaa-sant days and gay da -light plea-sant ■ a : z : t m

IQ

& $ da-lights plea-sant days and bliss-fu3L nights gar 2 5 1 Z zr ---- / _/___ I______» g ^ -i days plea-sant days plea-sant days and bliss-full bliss-full nights _ jC2_____ ^ ______4 ^ ——^ ------Î

15 n - -- ^ m p: I I - ' - U All the sweats eg all all the Sl^ts-'T— of Love and peace ^ ___ ■ / 4 ^ -

All the sweats all the sweats of Love and peace

: 4 = 1. m /' 526

EÉ a ■ r H n q r g r

nuner-ouB Flocks nu- _a -meroua Hcdcs and lax^e in-crease -»«---/— %— r m I ï U Ü nuBsr-ous Flocks nu- - Bsrous flocks and large in-crease t 1 - , - 1- m t î

A | -E_ I -I S er- er bless you Fan Pan m Joy at-tend you and Ce- res and Ce- res I ----- T = F 2$ z = = 3 n I I » 2 = ^ ■ --y / $ and Ce- res still be-friend ye Pan Pan /- !±: f Fan and Ce- res still be-friend ye and Ce-res and Ce- res JL— _ a d L t g z : 30 B = t = ± "V— ar"" - y g Pan, and Ce- res still be-friend ye ------f

Pan and Ce- res still be-friend ye t * Q i ^ ÿ 2 Z f = f 527 Wee'l go to the Cave

X-

s WeI t go to the Cave idiere Phy- Ian- der in

ÉÜ ^ -- ^ i m t Wee'l go to the Cave V j the Cave vhere Phy- lan- der in m I - - 4 ' - l

A 3S V — -Z- a Chains lyes wrong-ful- ly ban- ish*d for Brines he ab- horrs fc I I , I D ' $ I " V" 1 Chains lyes nrong-ful- ly ban- ishW for Brians he ab­ horre —<2------# _

10

S t $ -p>- I I' - I horrs With our Lays iree'l en- dea- vour en- dea- vour to -I- j g _ d b i -#u- iz: 1— N horrs With our Lays iree’l en- dea- vour en- dea- vour to les- sen to ± : -^LL. "SUL

1 $ ■ / é i' a = ) = p i - i - u - 1 - r 1 5 . , les-sen to les- sen his pains to lea- sen to les- sen to ûzuzzzzz: a /— -y I F = F = B Tzr les-sen to I- sen his pains to les- sen to les- sen to it ! ~ y I ZEE B = p = f 528

20. JL /_ ~ e -

les- sen his pains and please him with 8ing-ing and please him with * - p -1- -I- - les- sen his pains And please him with sing- ing and

g •a» er

#-y.—P- f" T ffi V : V — 1 H— H j sing— — — — — — — —Ing t%j@name he a- - 1 — k .r ," 11- w y " r V y-' r=j ‘fi- yS ^ r r " . ----ti----- y please him with name he a- g’.ar-"------1...... <2» • f . 1 é>-— ------4------#--- l-t"- — -----1

^— .— ^ — ----- f— !)------—1--- -1— 1— 1— u u u u u u " U i j ' ' dores and please him with sing— — — — — — — - q -----—A- ^ y y -1 p h f f ni- —%--- ?--- ^ ../• /:— /f / r y 1 1 ■ r - Ü — dores and please him with oxng— — — — — — — 1 « /* I - — - u 1 ■■ "*5 . -jdL______é___ M------1— 11 ■ 1

^ ---- .J

!> y y- 4 — f ------.1 .. 1 - - -ing the name he a- dores \ V - | d n 1— — 1— 7 ~ 1 J - . - *■ t— — — —ing the name he a- dores

a « H ------3 - i r T : - - ^ — z n ------^ 1 1 — 1— ------i i " ■ y Trio 529 To Love we*l lasting homage pay

¥ 7 1 ) : ^ ) ; y " ? 7 •yy i ^ ^ — X- To Loveeeül last­ ing homage pay we'lL last-ing eeUl last- I z z ■> ^v- A m ?H--U- To IcmeeeUl last- ing homage pay vre'U lasting me'11r n last 1a«+.__ if ^ -if— ^ ? m I £ £ H P '- K f = F üblovevBÜl 3astdng hmege pay we'll lasting we'll last---- -y y- ? E U

a ' I y E •w^ ' v-rÿ: ' -ing hoD^e- -ing ing hoD^e- homag pay for the high the high bless-ings n M ri n D P n z = 6 z y-y- Z W J E É p ^ i q - '/ p ? U l ' [ p £ -iig lasting homage pay for the high the h ^ h bless-ings -y— */ y — y~ a f IJ I' P I' r f -ing lasting honage pay for)r thithe high the high bless-ings -2--- y — a-k— U -g- ko.______I' W

I fff n h - yt> - yf'j. n f y of the da; of the day New Alters to his Name weOl ZBLsewell raise - -

SI “ m of the day of the day New alters tohis rame upraise Nèw Alters to fais w e H raise - - y y ey y * y î m r - p 1- 7 |; of the day of the day New alters tohis name Near Alters tohisa Name we'll raise we'll ^C>V ...^ ^ ^ k a 530

15 I&T T T 1 I. .1. D È : L • _ I Æ " Æ\ ^ P l //' P. i / z : ^ z = 3 z z = z a 7 --- 7 ------and er- efy tongue shall speak his praise and ev-ery heart and « g z :i rrjv"y":c a n d ev- ery tongue shall speak his praise and Jv-ei||r heart and __ :£! -j L ______21. E — -é- m

f — I' ■ I I raise and ev-ery tongue shall ak his praise and ev-ery :______I ^ ___ y. k— Î 20 1— D ;Vy ; | - 1 ) | - T r VU_ % / '"y ? -- 7" ev- ezy heart his )Oir»r his poir’r a- lore for none can hurt no none can , r > / / i -é^---- /- V I ■ y " 7' '" 7*~V' X- i 1 1 y I r ' " Ü rt ev-ery heart his )oir'r his pow*r a- lore for none can hurt no none can ^ ---7 ------2 = 2 = ? : -/— 7- n \ i . a r-t heart and ev- ery heart his poe'r a- lore for none can hurt no none can ZE ------^ • m

hurt or bless more no no no nous No no no no No none can

hurt or _ blesi moreus No no no no no no no no none can ÜZ ZZ

hurt or bxbless us No no no no no no no no none can 531

hurt cr Hess us more no no no no no no no no no none can hstor bless uii

hurt ortaeasusaore no no no no no no no no lone cai hurt or bkassus

hurt orUesstts more no no no no no no no no toneomhurtcr us

. ^ more no none cm hut or bless us more

more none canhorb ortflees us more

more none cm hmtor blsee ua Grand Chorus 532 Raise your Notes and lift 'em high

Trunqpet

Trumpet

Violin and Hautboy

Violin and Hautboy

Raise your Notes and lift 'em higpi xaise your Notes and

Raise your Slotes and lift 'em W"

Kettle Drum 533

-X-Î-- X-- r— ^-. X ^ ------:Fzp 1 ^ f’

----- UM* ------:------:----

-I— ------■ 4 ------^ - j D ■ > 'Z J- ^ ^ ------= ---- Sp ------... b " U ■■ 4 = —

-J n 1 1■■■ - L h - U y -h f ^ X

------3^ — — *~V _y. _|J---i p -- ^ --- :| ( p f ■ r 1 \ ■■ M ^ '' U w r - z z z c t ---- ^ - k % ------u , J _ ^ . .. _ — =— - — '.. ^ J J T 4 — .. , Raise your Notes and| lift high A m r> L p d k l ^ D r ki: ' .. . >• X - / } ’, v ' o — T - ^ - / e.------7 , 7 Ù R *ea high and lift *em high Raise your Notes and Ilf 'em ----- / .-r— > . -nX---- ^ -- — - A - h S ------r- ^ rr \ > f ^ ^ ^ ---- 7 , 1 ^ r i .. i - - p ^ ' Ly V high raise your Notes aiMl lift 'em high and 1Lft 'em high and lif>t rsâ

h c T ^ - .. - 1 -A,— p 1-- H Raise your Notes and lift 'em h i ^ x r X - f ' f - r ■" ■ 1 p i - - p - i .. ~ V ~ r U U -‘ = U = H

a H f r ------— (------# w p - # ------1- .. — ...... t , :j^" V y / / /1 534

10 P Cl I'M É g g— # T ../" ^

# g 1 H I I M ^ I'.

t = ± E # i = & jSÜ

y' Ë g y e A ±

■y y- ~y» y M- P g Raise your Notes andjfotes aijd Raise yoir Notes and r 'ITT h t A î >> y 7 ^ y -y y- gh and lirtrT V h i # Raise your Notes hig^ dë ZE y 4—n-m ; 2 E — y X y : - ¥ z: high Raise your (otes and lift *e hi^ and lift 'em high Raise your ------+ - ^ I ■y— r-y w y.^. / .' ^ /■ y > / T Raise your Notes and lift high and lift *em h i ^ ~ar- -«^— 4 = ^ y > ■ y. -y——y -yj y- y y.

■ n y y t e ■yyy y / SB” m u m u 535

15__ Wf J, f

M

A -y. , jf f I y y f '

ÎJ: I- n 1 :^ - l .. z z

Z 5

P I p 4 - P 1-

:Sfe ? F y './ g lift *«a high and lift 'em high zti g 1 î) \ S 2 . ■iS ...g-

Raiae your Notes and lift 'em high and lift 'em high .A.. ' h Ï/7- 7 r - ^ ~ g - ■■ t P I K m Notes and lift 'emr Iiigh and lift 'em high and lift 'em hi{^ 2 0 ______Z '"^J. y 2 H 5 - n = F Raise your Notes and lift 'em high and lift •em^gh y /" -"y- * 1 V I ■■ F

-é-é- 536

M m

-#L! /L "1^ ^ # 1 4» l - U

"V ^ ~ ^ ~ y -/: /- A 221 ^ 1^ ^ 1^ Q Z 3k. r - t - \ I K I U É i —H-.-L M - 1 - -1 # E #=4^ I ;1' I 1^ p m Love* 8 im-mor- tel Love's im-mor-tal dm mor-tal praises m ■1 t) \ P P j i : \ I £ ZZ: -1^-— ##- iove's im-mor-tal Love's im-mor-tal im- mor-tal praises jL P - o - y — y - y — y - y - i ^ --- y — y - - y y - k t 1 1^ 1 I t B Love's ïm-mor-tal Love's i m - s w - ^ 1 im- mor- bal praises ^ £. z z n z / "". '"V w I M f. \ .4? \} Love's im-mor-tal Love's inH^r-tal im- mor-^1 praises

s K 1 - Y

m X y -y -y y f- y - U j U L Ü ) 537

■ M

j £ /L -- #*- '^' d> M = * = * I 1 1 1- 1 zzzz: t M -

/■■■'■I.-./-. ■ ~g: f* I =r: 1 4 » 12: # m Lore's Im- mor- tal Lore's im-mor-tal praises sing I'f y ' i ~ ~ T = t^ z z z z - : ) = ^ 4 = ) Lore's im-mor- tal Lore's iiHBor-tal praises sing 1 I- I I- -I—I- ' Z Z Z Z ^ 3 2 %^ '1^ ]- -^ v l - t i y r.

Lore's Im-mor- tal Lore's Im-mor-tal praises sing Ore the ^ /______s zzzz / X: Z Z 3 : m Ore the valley

S f = # ?

Ï 538

25

t.* ^ 3Z: m l a I j â I4 k 1 - r

F ^ - M - 1 î>- ' î> W: 2 z ± - / :^rzz:^-"sr au. g 2 z z z : "X -o f = f I t ‘ I ?

— /'— /- f = f Ore the veil#/ let 'em ring g n tî 1 e l n 1 r> I V ' ir Ore the valley let 'em let 'em ring 2 2 = 2 = 2 : • , V -^- i 1 - ( - - y . % veil#/ let 'em ring let 'em let 'em ring

»W*- — ^ / - r . / T = f f T = F Ore the valley let 'em let 'em ring let 'em ring - - V w ---- a P P f 539 i JO, r r r j

S B m

Tt- m OT

A I# I --I m rtj. I f) & y- 3 C

■y— —y- e m = # z = ^

A -£j>i

Let 'em ring m 1 - 1 p r r m a let 'em ring let 'em ring É s - z 1 ^ Cf,. /,.A Let 'em ring -y— <(- - t5 > -

let 'em ring •J I j

# # y ~ y 540 f m

I - T ^ i z c # 'g;É / / Î V»—

w- 0 =0 w i - i I I 35. - 0 0 0 - 2 _

J— g — / - 0 ' # i - r p r ^ -y-5 Z -^ - 0 - 3 - 0 - ^ * , /L m p Let 'em r ^ g let 'em rl^g

-0 -- 0 '~ A r 4=#^ 2 : 0 0 0 ' Let 'em ring let 'em ring« let 'em let 'em ring 3 3 V y ~ y t = t r r T r ' ^ J ' f Let 'em ring let 'em let 'em ring 0 ^ % 0 t-0 - 0 .i f Let 'em ring ■ Œ let 'em ring m 3zzz: *-JL H F

0 " 0 0 0 0 m = n 541

m

m

I- I I I I -t- m ' " ^ " f É -s r- f- g -±Z=^— i=2r:t.

.yTfhgr.5>i m -X X "3" ""X Let *em ring let 'en

X ^ X 1*^ X / T x R f Let 'em ring X X- X f f ^ O - g

Let 'em ring let 'em ring - - X f ^ d» ------X X , m V -- X- f r T=i n 4 wrwra t e 542 1 0 " r T- '

■y' j/ P Z2C

A T-y- i i e n ^ r - p

■11 1 h W = ) : g -^' ^ -anr I 1 I !> i I -h-i 1^

«f jr f 4f t y g ? Le|> *eiy ring let *em è : P -^- ^ ^ :— ring let 'em ring let 'em ring let 'em let 'em •>" • > ^ j» ^ I 4 = t i t z a 3TÎ É 1 -F-F let 'em ring let 'em M n g let 'em •>. V Ip let 'em ring let 'em n , "Sf ^ a ^

-ETLD z z z z z z 543

m

^ ^ ^ f 11 . . 1^- 4 k - » - y : v ■>. #' 1

w M - 4 I M t) 1 ZZ.

3 " a £ g M = F -^-t.-- ^ f c ± : 4 — 7 f I I )?>- k K p P I : :M ring For Masick diams |hB Lard above tbsLcrd above a- k w 0 g ring For Ifoeick dianue Itae lordabove chazBS the Lord above a- A-W: -4---- ¥ 4 ) - 4 >-f r 1 (1 \ . ..h v = % : 25, 3 Z 3 G # ring For Uasiek charme dnnas teLcrda- bove a-mldet a- 4— 1. z c ^ ----- 7 u ^ ^ •i— p j} I K ring For Murick harms dmoBSlhBlada- bove a-aidstAst a- — ^ ------Z = m z r Î $ m B = f f S = B 544

$ 0 : r f r "f -32l X m v

f f < i^ V- L W ' I' m pm m ■#«. ■ /_

H W - 4 - M jCiZZZfr F1 f — /7y é? M — X- / y V y-

k -l^ I .. .7 k r p i ~ ' i

V /- i -^ % g oldst their night; migh- ty Joy a- midet 1heir migh­ ty migh- ty Joy —A-I-—D + — f - j ■ I I - 1 = 1 ..: D. E V / z c midet their mighty migh- ty Jqy a- midet their mighty mighty migh- ty Joy

-y y- ~y~ .^ wf« y -y— y- y— y- t r T i -TT ill r midet their mightg mighty Joy a- md^et ^ e i r mighty mighty jni^h- ty Joy -y— y * W ■ Z— / y "' y m I ' "• ty migh-ty Joy midet their might; mighty Joy a- m^et their mighty migh ig <9 — f m

n ^ y .D y-y y y y— *■*- m ^ n-y y y ^ j ] ] ef y y y y y y #ÜZ #