Daniel Purcell (c. 1664-1717) was the younger brother of the renowned The Life and Vocal Music of Daniel Restoration composer and for most of his life lived in the Purcell: shadow of his brother's reputation. Early historians were not generous A Reevaluation in their assessment of Daniel's music; however, several contem­ by J. Perry White porary historians have recognized that his contribution was much .. greater than had been previously noted. Certainly Daniel lacked the genius of Henry, but his music is not violins; later he became one of the College 1701-1713) who had been without its own merit. Much of it most influential and affluent musi­ a friend of his brother Henry, hav­ points toward new directions in the cians of the early Restoration.6 ing been presented to the Living of music of the English Baroque and These achievements were certainly St. Andrew, Holborn, found an thus is an important precursor to the significant in the lives of both Daniel Organ in the Church, of Harris's music of Handel. Some of his music and Henry. building, which, having never been paid for, had from the time of its will stand on its own; it demands no Daniel's name is mentioned in a erection in 1699 been shut up. The apology and is worthy of rediscovery list of 8 April 1679 as one of the Doctor upon his coming to the Liv­ by today's performers. choristers of the Chapel Royal who ing, by a collection from the Although the life of Henry Purcell attended the King at Windsor in Parishioners, raised money to pay has been thoroughly documented by August and September of 1678.7 for it, but his title to the place of Jack Westrup, Franklin Zimmer­ Other than this entry nothing is Organist was litigious, the right of man, and others, little research has known of either Daniel's tenure as a election being in question between been done on Daniel. The bio­ singing boy with the Chapel Royal or the Rector, the Vestry, and the graphies of Henry, however, do pro­ of his youth and schooling. In 1688 Parish at large: nevertheless, he in­ vide information on the parentage he accepted a post as organist at vited Daniel Purcell to , and he accepted it but in February and early lives of both Henry and his Magdalen College, Oxford, a post he 1717, the Vestry, which in that brother. Daniel was the youngest held until 1695. While at Oxford Parish is a select one, thought pro­ son of the elder Henry and Elizabeth Purcell wrote music for an Ode to St. per to elect Mr. Maurice Greene, in Purcell and apparently was born in Cecilia by Thomas Yalden. This was· preference to Purcell, who submit­ Westminster. The exact date of the first of four odes that Purcell set ted to stand as a Candidate. In the Daniel's birth is uncertain, but the during his career. In addition to the year following, Greene was made death of the elder Henry Purcell on Ode to St. Cecilia, Purcell composed Organist of St. Paul's, and Daniel 11 August 1664 establishes April solo anthems and a .few secular Purcell being then dead, his 1665 as the latest month in which songs during this period.B Between nephew Edward was a Candidate Daniel could have been born.1 He 1685 and 1695 a number of Purcell's for the place, but it was conferred on Mr. John Isum, who died in was the youngest of four brothers songs and duets appeared in print, June, 1726.10 (Edward, Joseph, and Henry) and but it was not until his return to Lon­ one sister (Katherine).2 . don in 1695 that his music gained Other sources indicate that Daniel Little information is available per­ real favor. Zimmerman makes men­ did not accept the position as taining to Daniel's early life. His tion of two of these songs that were organist at St. Andrew's Holborn un­ father was a gentleman of the published in Playford's The Banquet til 1713.11 The latter date certainly Chapel Royal and Master of the of Music, 1687, when he stated: seems more tenable since Purcell Children of Westminster Abbey and Two of Daniel's settings "By what was so active in writing music for music copyist there.3 Henry the I've seen" and ''Twas night and all the theatre after his immediate elder died when Daniel was less than the village" are rather good songs. return to London. Details of any one year old and was buried at The musicianship they bespeak assistance that Daniel may have pro­ Westminster Abbey. Elizabeth may be taken as evidence that his vided to his brother Henry are Purcell and her family apparently receiving the post of organist at Magdalen College, Oxford, that sparse. The authorship of the music moved to Tothill Street South short­ year was not due alone to his for the masque in Act V of The In­ ly after his death. Elizabeth lived brother's influence.9 dian Queen is generally attributed to 4 12 there until her death in 1699. In 1695 Purcell resigned his post him, but this, too, is uncertain. Daniel's uncle, Thomas Purcell, at Oxford and moved to London. In 1696, a year after his return to acted as foster father and benefactor Tradition suggests that this rather London, Daniel supplied music for to the family. At the beginning of sudden move was dictated by an Ibrahim XII by Mary Pix. This was the Restoration, Thomas had been urgent request from his brother for followed by a number of plays for named as the first of ten musicians musical assistance, but the par­ which Daniel supplied the music. In "that do service in the Chapel Royal ticulars of this move are uncertain. 1697 he joined with Jeremiah whose salaries are payable in the Bloxam gave the following account Clarke in writing a good deal of Treasury of His Majesties' of Purcell's move: music, both vocal and instrumental, Chambers."s In August' of 1662, The occasion of his coming to Lon­ for the contemporary stage.13 A Thomas Purcell had been appointed don was as follows: Dr. number of his compositions are as composer-in-ordinary for the Sacheverell, (Fellow of Magdalen found in Motteux's The Island August 1985 Page 27 Princess, a dramatic opera that also Daniel Purcell enjoyed a wide Pretium to you; if it does, I must contains music by Clarke and reputation as a punster. Bloxam needs say you manage your Purse . Lincoln reports quoted several puns but one exam­ il1. I design to watch you that Purcell evidently walked out in ple will suffice. He quoted from Joe Retournello's to Town, and will the middle of this collaboration Miller: strive to bring you more to my Bow; and knowing we shall agree Dr. Sewel, and two or three more because Leveridge insisted on to an Hair, I desire we may wet our Gentlemen walking toward Hamp­ writing his own songs even when Whist'ieSi:ogether, and make some stead on a summer's day, were met they came during a portion assigned Recitativo's of the past Crochets of by the famous Daniel Purcell, the to Daniel. 14 Purcell seems to have our long Acquaintance. ~ was punster, who was very importunate enjoyed steady employment during we could both of us have QlaY.' d with them to know upon what ac­ 1!p'on the Virginals; and particular­ this period and continued to write count they were going thither. The ly you have been a Man of Note for music for the theatre. Doctor merrily answered him, "To your many Comp'ositions upon From 1697 through 1700, Purcell make hay." "Very well," replied the them. I know you to be in Alt, as to wrote a succession of ceremonial other, "you'll be there at a very your Religion; and should you con­ pieces. In 1697 he wrote a piece in convenient season, the country tinue to be above Ela in your honour of King William's return wants Rakes."lg 1s Politicks, I shall neversuffer any from Flanders. In 1698 he set an self, I assure ye, to be out of tune Ode to St:'Cecilia written by Thomas One further illustration of Purcell's with my friend on such Fiddle­ Bishop for the St. Cecilia's celebra­ wit is this letter that was printed in Faddle Accounts. tion in London that year. An an­ The (London) Weekly-Journal of 29 ~e sharQest of the Criticks nouncement of a performance June 1717. It is quoted here in its should Censure this Letter as Flat, following the celebration appeared entirety: they are entirely out of the Key', in the London Gazette: and have not their Fantasia's A Punni-Musical Epistle to Mr. Screw'd up" to the present Pitch of, On Wednesday next will be per­ Daniel P; Or, a Dear Dan. formed in York buildings Mr. Letter in his own Way. Yours, from the merry Yl2.!i.D. Daniel Purcell's musick made for ___That lin Baralyp­ to the German Flute and the last St. Cecilia's Feast for the ton Blunderbuss yeo Recorder. benefit of Mr. Howell and Mr. Ox[ford] and Signior Allegro.2o Shore, with an addition of new Camb[ridge] Miscel, p. 189. vocal and instrumental musick, In 1700 Purcell composed the beginning at 7 at night. 16 Honest Dan. work for which he is best I have beaten Time so often at remembered, The Judgment ofParis, Purcell also set an Ode in honour of the Overt;:;reQfyoor;:esting~, a masque by William Congreve. Princess Anne's birthday in 1700. without play.ing upon you at .§ight, Purcell's work was submitted in a The autograph score is found in the that I perceive the ~ of your competition that was announced in British Museum. In 1699 Purcell was Life to be chiefly in Taverns, where the London Gazette, 21 March 1700. called upon to set an Ode to St. you will never leave drinking a Tre­ The four applicants who answered Cecilia by Joseph Addison for the ble Quantity, till your hand the ad were John Eccles, Godfrey ~ devotees of music in Oxford. Husk Quavers. If this be any to your Finger, Daniel Purcell, and John Reputation, and you think me a speculates that Purcell evidently Jew to Harp upon an harsh String, I Weldon. Purcell finished third in the was still very much in favor there, shall use no Flourish or Rondeau competition with Weldon taking the even though he had departed for of Words, but tell you plainly, that first prize and Eccles the second; London some two years earlier.1? it frets me to the Guts, that you are nonetheless, Purcell's score is of the Unfortunately, this music has been so hard to be found when a Man is greatest historic interest of the lost. Husk also mentioned a fourth §.QlQ in an Evening. I know three. Lincoln stated: "Only Purcell Ode set by Purcell in 1707. The poet sometimes you take some f.yg,!;§ shows an awareness of the 'motto' is unknown, and both the text and into the Country Air. and I wish it technique found in the Italian the music have been lost. 18 prove no more than an Q~ operatic arias which were just becoming so popular in ."21 _-----BROUDE BROTHERS LIMITED_--> Percy Young noted that the score is 141 White Oaks Road/Williamstown, MA 01267 an example of the transition in English music that led to the loosely Psalm Settings, Old and New called "Handelian style" but so far without benefit of Handel.22 Lincoln Jean Berger: Blessed Is Every One That Feareth the Lord (Ps. 128). mentioned two other ltalinate 5 solo, SATB, piano. Eng. 1.00 characteristics found in Purcell's Gottfried Homilius: Der Herr ist mein Hirte (Ps. 23). SATB. Ger-Eng. 1.50 score: first, the abundance of slow Henry Purcell: Blessed Is He That Considereth the Poor (Ps. 41:1-3). triple-time, bel canto arias (also ATB soli, ATB, continuo. Eng. 1.00 characteristic of Purcell's solo an­ thems) and the use of trumpet Salamone Rossi: Al naharot Bave! (Ps. 137). ITBB, piano or organ sonatas. Lincoln noted that there are ad lib. Heb-Eng. .75 three sonatas found in the score, all Miklos Rozsa: The Lord Is My Shepherd (Ps. 23). SATB. Eng. 1.50 in three fast-slow-fast movements.23 Virginia Stroh: Praise Ye the Lord, Alleluia (Ps. 113). SATB. Eng. .80 These and other characteristics of Complimentary reference copies will be sent upon request. Purcell's style are discussed later in this paper. Page 28 THE CHORAL JOURNAL Purcell's preface to The Judgment was a general decline in the interest Mr. Henry Purcell, will exhibit an of Paris is of interest because it and demand for the stage works of entertainment of vocal and in­ seems to set forth the composer's English composers who had attend­ strumental musick, entirely new, musical philosophy: ed Daniel's popularity. The year and all parts to be performed with 28 1711 marked the publication of the greatest excellence. There is a Justness of Composi­ Handel's Rinaldo, and a new era was From 1713 until his death, Daniel tion, a true Harmony of parts; The born.27 was organist of St. Andrew's making the Notes and Airs ex­ Pulver indicated that Purcell occa­ Holborn, London. Edward Purcell, pressive of the Numbers and sionally organized concerts at which the only son of Henry, was a can­ meaning of the words, the pathe­ his music was performed as well as didate for the post of organist of St. tique or commanding Force that that of others; he quotes an adver­ stirs the Passions, which many Andrew's following Daniel's death, tisement from the London Gazette in Censurers regard no more, than but the position was awarded to 1712: some Masters in their Com­ Maurice Greene instead. A curious posures. There is a Sort of Painting On Wednesday the third of April, eighteenth-century printed docu­ in Musick, as well as Poetry, which ment, located in the British Library, if a Master misses he may be for­ at Stationers' Hall, Mr. Daniel tunate with the unknowing, but Purcell, brother of the memorable listed Daniel Purcell among a group never with such judges as you Sr. whose skill is too great to be im­ posed on by false charms, or glar­ ing defects or to neglect, or overlook any real Beauty and perfection.24 ID.qt· ·.QT.qUf£!t ••. :!IUlii£

Burney apparently believed that Purcell fell short of the mark so ad­ 4nrallfl'tliiiual mirably stated here. Burney retorted: 1fttlanb

Daniel Purcell was a wicked punster, and no less wicked com­ poser. His right to the first title is recorded in Joe Miller, and to the second in the score of his The Judgment of Paris, which he printed, it should seem, to con­ vince the world how righteously he had been judged.25 Burney did point out that Purcell's setting was performed at Drury Lane in 1702. In 1700, after the completion of The Judgment of Paris, Purcell scored The Grove or Love's Paradise by Oldmixon. This work was also produced at Drury Lane. Pulver noted that this was Purcell's "best success" and that from that time on he enjoyed an unchallenged reputa­ tion as a writer for the stage.26 Be­ tween the time of his brother's death in 1696 and the year 1707, Purcell wrote incidental music for more than forty plays. After 1707 Purcell appears to have turned almost entirely to the composition of chamber music. His activity as a composer was con­ siderably diminished after this date. The reasons for this turn of events are unclear, but Westrup speculated that it may have been due to the rise of the popularity of Italian opera. Between 1706 and 1711, Walsh published a large quantity of pastiches of Italian operas, and there

August 1985 Page 29 of organists certifying that a ~r. In th' art of Musick, he performed so some insight into Purcell's style and John Jones "is capable of playm~ well, musical contribution to early (in any Parish-Church in England). that Him, his brother only could excel. eighteenth-century Englis~ music. Daniel Purcell's name was listed as According to ChrIstopher organist of St. Dunstan's in the E~st Purcell's Vocal Music Dearnley, the solo anthems were not and St. Andrew's Holborn. MaurIce intended for liturgical use but were Daniel Purcell was a relatively Greene was also listed as organist at composed by special request for prolific composer, and although hi.s St. Andrew's Holborn. A footnote to private performance.32 Most of these music is all but unknown today, It the document explained that Purcell anthems are rather lengthy and are was in great demand during h~s similar in many respects to the solo along with a Richard Brind. "are lifetime. His works include dramatic since dead." This document IS the cantata. The anthems, written for works for the stage, sacred solo an­ only indication of Purcell's also ~lternate thems, secular vocal songs, single voice and continuo, holding an organist position at St. between recitative-type sections and ceremonial music, a number of Dunstan's in the East. He probably more arioso-like sections. Purcell's sonatas for various instrumental held both positions concurrently for extensive use of the solo voice and ensembles, and some keyb,?ard a brief period of time.29 the rather florid style of much of the music. He wrote one masque, The Purcell was buried on 26 solo writing is indicative of the in­ Judgment of Paris," inciden.tal fluence of the theatre on his music. November 1717. The only official music and songs for some forty-five The "motto technique" that was mention of his death appeared in an plays, sixteen solo anthems, one Daily Courant referred to in the earlier discussion advertisement in the verse anthem, one full anthem, and 12 December 1717, placed there by of The Judgment of Paris is readily one setting of the Magnificat and his nephew Edward.3D The following apparent in the verse anthems. In . In addition he set four elegy to Purcell appeared in a mu.sic Purcell's music the motto or theme Odes to St. Cecilia and composed ~y c~:m­ manuscript, now in the Bodleian two birthday tributes to Princess is usually announced the Library, containing thirteen of tinuo instrument and IS then Im­ Anne, a welcome song for William III Purcell's solo anthems: itated exactly by the voice. The on his return from Flanders, and a number of other miscellaneous more typical treatment of th: :notto An Elegy on the Death of aria was to introduce a motif In the secular vocal songs. His instrumen­ Mr. Dan Purce1l31 voice have the instruments repeat tal music includes sixteen sonatas the ~otif before having the voice for instrumental ensembles, several In softer accounts or more tuneful lays repeat again, and then continue with pieces for harpsichord, and The Others may mourn his death, or sing the entire melodic line.33 The open­ Psalms Set Full for Organ published his Praise; ing section of Praise the Lord, 0 my , Yet none, none more truly can his fate posthumously in 1718. soul illustrates Purcell's use of the bewail, Careful investigation has yielded motto technique (see example 1). But we alas! will fruitless grief avail? only two sacred choral works, the To paint in words ye man, 0 faintly Seven of the solo anthems include full anthem The Lord gave the word Fiv~ ~~ show and a setting of the Evening Service. four-part choral settin9.s. (who) once he was is all we now can these are concluding hallelujah Although Westrup lists Hear my do. . choruses but the two anthems I will prayer, 0 Lord as a verse anthem,. it His modest and obliging Carriage magnify 'thee and Bow down thine is actually a two-part anthem a?d in­ g~~d . ear, 0 Lord include choral treatment cludes no choral writing. The fifteen Him real friends, who always friends of text other than the ever present solo anthems, however, are ex­ remaineO. "hallelujah" (see Appendix .A). In him so very rare perfection met, . emplary of the composer's vocal Choruses usually reiterate the final Great skill in Musick, and a ready WIt. works, including both solo and solo statement and add dramatic His wit, peculier in his grace alone; choral writing. The brief discussion Pleased all who heard it, but offended of these works that follows will give emphasis to the conclusi<;ms ?f th: none. works. The choral writing IS prImarI­ ly homophonic with a .few instanc~s of short imitative sections. Purcell s rhythms are characterized primarily by quarter-note movement ,:"ith some use of eighth-note passing­ World's Largest Selection tone figures. The choru:,es are .sim­ pie, straightforward settings, WrItten of Published Music in a pleasing and agreeable style. The solo writing alternates be­ tween a recitative-like style and Call Toll Free 800-621-4496 more ariososections, the recitiative sections being highly ornamented with sixteenth-note figurations. Fre­ In Illinois Call 800-572-3272 quently a type of dialogu~ is established between the continUO and the voice in a pseudo canonic CARL FISCHER OF CHICAGO style. The triple-meter sections are always quite lyrical and contrast with the more florid writing of the Page 30 THE CHORAL JOURNAL duple sections. It appears to this EXp,I.raise the dOl.sou Lor, nor author that Purcell was at his best in triple time. Purcell was also quite n fond of dotted-note figurations; they Solo appear frequently in both the duple Voice and triple sections. iJ Another general characteristic of Purcell's style is his penchant for ~e£l:l ,..... -~ writing ground basses. These bass """"" lines are readily apparent in all of -.....: the verse anthems. Sometimes the ~6 6 b b bass is merely' a walking bass V resembling a ground-bass figure, n but often it is a continuous repeti­ ~. - .. tion of a melodic bass line. These bass lines are quite inventive and ,1 add both rhythmic and melodic in­

/\ terest to the anthems. Daniel's use ~ - of the ground bass was certainly in­ 11-. ./-. 1:,+ -I-+- " ...,.. - · " fluenced by his brother's style. f--:,l-.· . Henry was a master of this tech­ ... v \I ~ ...... nique, and Daniel seems to have in­ herited a predilection for it. The anthem Bow down thine ear, o Lord provides a good model for a closer examination of Purcell's style. A setting of the text of Psalm p,.~i~ -...._ fhe LorJ, 0 my Soul QJld all fh.i is wdh- 86, this anthem treats the text carefully and expressively. The work is divided into three large sections and concludes with a final four-part chorus. It opens in C minor and is in common time. The harmonies are quite chromatic, contributing to an t A A • +. ".--..,.

f effective painting of the text, "Bow down thine ear, 0 Lord and hear me, ~ .. ~ e I.a..oJ --.;;;: - for I am poor and in misery." A In me, a"d 1111 ,,,til is (,AA'fJ,. lh ",e fra,se faster triple meter is introduced for f'l 'f- 'f- I- the setting of the text "forThou Lord "- " art good and gracious." The central · ~ L-!:.. section of the work is in G minor and ...... "l:I ~ is introduced by a short recitative b 6 (, (, )' b b

Anthem British Museum 4·Pt. Bodleian Library 4·Pt. Manuscript No. Chorus Manuscript No. Chorus

I will magnify thee, 0 God Add. 17841 * MS. mus.d. 226 I will sing unto the Lord Add. 31461 ** MS. mus.d. 226 ** I am well pleased Add. 31445 In thee, 0 Lord, have I put my trust Add. 31461 MS. mus.d. 226 o Lord, thou has searched me Add. 31461 ** MS. mus.d. 226 ** o Lord, rebuke me not Add. 31461 ** MS. mus.d. 226 ** My God, my God, look upon me Add. 31461 MS. mus.d. 226 o God, thou art my God Add. 17841 MS. mus.d. 226 o let my mouth be filled Add. 31461 ** MS. mus.d. 226 ** Praise the Lord, 0 my soul Add. 31461 MS. mus.d. 226 ** Put me not to rebuke Add. 17841 MS. mus.d. 226 Bow down thine ear, 0 Lord MS. mus.d. 226 * Blessed is he whose unrighteousness Add. 31461 MS. mus.d. 226 is forgiven Lord let me now mine end Add. 31461 MS. mus.d. 226 It is a good thing to give thanks Add. 31461 MS. mus.d. 226 Have mercy upon me, 0 God Add. 31461 MS. mus.d. 226

* 4·pt. chorus ** 4-pt. Hallelujah chorus

August 1985 Page 31 Ex. 2. voice, and the dramatic and vir­ Bow down fhi ne ear, 0 Lo..d tuostic style of the solo writing epitomized much of the vocal music I Solo of the first quarter of the eighteenth Voice century and heralded the rise of the Italianate influence in England.

NOTES

'Die Musik in Geschichte und Gegenwart, 6 s.v. "Purcell, Daniel," by Jack A. Westrup. I 2Franklin B. Zimmerman, Henry Purcell, - -...,J'- 1659·]695: His life and Times (New York: St. Martin's Press, 1967), p. 381. 3The Dictionary of National Biography, s.v. "Purcell, Daniel," by J. A. Fuller Maitland. 'Zimmerman, Henry Purcell, p. 16. 5Henry Cart de Lafontaine, ed., The King's Musick: A Transcript of Records Relating to Music and Musicians (1469·1700) (London: Novello & Co., Ltd., 1909), p. 121. 6Zimmerman, Henry Purcell, pp. 14·15. 7de Lafontaine, The King's Musick, p. 339. ~~~~~~~---~.-=------sThe New Grove Dictionary of Music and Musicians, S.v. "Purcell, Daniel," by Jack A. Westrup. 9Zimmerman, Henry Purcell, p. 152. l°John R. Bloxam, A Register of the Presidents, Fellows, Demies...and other Members of Saint Mary Magdalen College in the University of Oxford, from the foundation of the College to the Present Time (Oxford: William Graham, 1853·85), p. 203-204. "John Ebenezer West, Cathedral Organists Past and Present (London: Novello and Co., Ltd., 1921), p. 151. 12Zimmerman, Henry Purcell, p. 264. "Jeffrey Pulver, A Biographical Dictionary of Old English Music (London: Kegan Paul, Trench, Trubner & Co., 1927), p. 377. "Stoddard Lincoln, "A Congreve Masque," 6 6 jJ The Musical Times CXlIl (1932), p. 1079. 15Percy Young, A History of British Music (London: Ernest Benn Ltd., 1967), p. 273. 16The London Gazelle, No. 3458, January 2, 1698·9 as quoted in William Henry Husk, An OM, 'here iSl/clone nof"'n i a 05 fAo" do.sf. Account of the Musical Celebrations on St. Cecillia's Day in the Sixteenth, Seventeenth and Eighteenth Centuries (London: Bell and Daldy, 1857), p. 47. 17Husk, An Account, p. 89. 6* ~7 ,s/bid. which leads directly into a more eighth-sixteenth-note figure is 19B1oxam, A Register, p. 205. rhythmic soloistic section in cut 2°The Weekly·Journal or Saturday's Post. prevalent in both the vocal and con­ With Fresh Advices Foreign and Domestick, time. The bass line is characterized tinuo lines. As the vocal line drives Saturday, June 29,1717,171. by an eighth-sixteenth-note walking­ toward the final cadence, Purcell 2'Lincoln, "A Congreve Masque," p. 1080. bass movement; there is frequent used an interesting triplet figure on 22Young, A History, p. 275. sequential treatment both in the the word"great" which is echoed by 23Lincoln, "A Congreve Masque," p. 1080. 2'Young, A History, pp. 275·276. continuo and the vocal lines. Purcell the continuo. The chorus then 25Charles Burney, A General History of used sixteenth-note melismatic enters, maintaining the faster triple Music from the Earliest Ages to the Present figures to set the word "great" in the meter and reaffirming the final C­ Period (1789), 2 vols. (New York: Harcourt, phrase "for Thou art great," con­ major tonality. The section begins Brace & Co., 1935, II), p. 984. 26Pulver, A Biographical Dictionary, p. 377. cluding the central section with homophonically, then gathers inten­ 27/bid. recitativ~. another more florid It is sity through a brief imitative section 2sDie Musick, s.v. "Purcell, Daniel." this section that best exemplifies the that leads directly to the final nine 29British Museum, 1855 C4 (58). Handelian flavor that Percy Young bars, again set homophonically. 30The Dictionary of National Biography, s.v. mentioned. The driving bass and the Bow down thine ear, 0 Lord and "Purcell, Daniel." "Bodleian Library, Ms. Mus. d. 226. florid vocal lines reflect the in­ the other solo anthems demonstrate 32Christopher Dearnley, English Church fluence of the Italian concerto style that Daniel Purcell was more than a Music] 650·1750 (London: Barrie & Jenkins, stemming from the new popularity mere shadow of his brother. The har­ 1970), p. 235. of the Italian opera. monic richness of the soloistic sec­ 33Apel, Willi, Harvard Dictionary of Music, A brisk triple meter introduces the 2nd ed. (Cambridge, Mass.: The Belknap tions, the use of the motto tech­ Press of Harvard University Press, 1972), p. concluding section. Here, a dotted- nique, the extensive use of the solo 546. Page 32 THE CHORAL JOURNAL