A Short History Of English Music Part 6

By the time of Purcell instrumental music had advanced beyond the dance measure, and arrived at a state of independence. It could stand by itself without the aid of singer or dancer to sustain it. The process of emerging from the parasitic stage of clinging to these arts for sustenance was completed, and it had struck its roots so deep down that future ages might well, with wondering amazement at its magnificent growth, find it difficult to grasp the idea of its humble origin. The compositions left, in this kind, by Purcell, such as the fantasias, sonatas, incidental music to plays, harpsichord and organ music, indicate only, it is true, the first offshoots of the wonderful tree that was destined to so fascinate the world, but they gave birth to many n.o.ble branches that helped to invigorate the initial life in its struggles for existence, and were the most prolific of the tendrils that make for healthy growth.

In conjunction with his sacred music, these amply justify the claim made for Purcell that he was, from whatever point of view he may be judged, the greatest of all English composers.

FOOTNOTES:

[6] The word ballad comes from _Ballare_, to dance.

[7] "Shakespeare in Music." Louis C. Elson. L. C. Page & Co., Boston.

[8] c.o.c.kle hat and staff were distinguishing marks of a pilgrim.

[9] It may be mentioned that there are numerous variations of these, as of all traditional melodies.

[10] Burton: "Anatomy of Melancholy," 1621.

[11] William Chappell's "Music of the Olden Time."

[12] "That will draw three souls out of one weaver" is a line of peculiar interest.

Although it shows a distinct lack of reverence, it is quite typical of the spirit of the time. The "weavers" were mostly Calvinist refugees settled on the East Coast, whose austere manners and mode of life made them a constant source of ridicule to the people among whom they had taken shelter.

The imperious will of the Tudor monarchs had, hitherto, prevented the dissemination of Calvinism in England, and so, to the boisterous, happy-go-lucky temperament of the Elizabethan Englishman, the ostentation of religious phraseology, added, probably, to their quaint p.r.o.nunciation of the language, made them at once a b.u.t.t of scorn and contempt.

The expression used, too, by the clown "By'r lady" shows that Protestantism had as yet made little inroad on the life of the people.

It is worthy of note that it was from this part of England sailed the first batch of emigrants to the new world in the "Mayflower," now immortalised in history.

[13] A canon is a form of composition in which a melody is started by one voice and followed by another, one or more bars later (or even less) in strict imitation of it.

CHAPTER III

EARLY ENGLISH COMPOSERS

THOMAS TALLIS (OR TALLYS)

Most of the pre-Reformation music destroyed--Tallis, the oldest English musician of which anything certain is known--Organist of Waltham Abbey at time of the suppression of the monasteries--Date of his birth unknown--Favourite of King Henry VIII. and Queen Elizabeth--State of difficulty and danger in intervening reigns--Chaotic state of things in the Church--Queen Elizabeth's policy--View of it taken by the present Dean of St. Paul's Cathedral--Greatness of Tallis as a composer--His death.

We are, unfortunately, not able to write of the earliest English composers, as much of their work (and with their work their very names) perished at the time of the destruction of the monasteries by King Henry VIII. in 1540, and what was left of it was destroyed by fire during the sacking of the cathedrals by the Puritans in the Commonwealth period. We are, then, obliged to begin with the _early_ English composers, who date no further back than the sixteenth century and the Reformation.

In dealing with these and their music, it is impossible to think without emotion of the terrible sacrifice of treasures of art caused by the veritable holocaust made of them by the Puritans, for, of the work of centuries, there is, practically, little or no trace left. What we do know of the works of those composers who lived before and during the early Reformation period, shews that ecclesiastical music had arrived at a point of great splendour, and if Tallis may be considered as the descendant of a great school of composers, which he undoubtedly was, it can help us to realize the extent of our loss.

He was, fortunately, able to protect his own work, or, doubtless, that would have perished with the rest, since all of his early music (and some of the n.o.blest specimens) was written for the monastery at Waltham Abbey.

Tallis stands out pre-eminent among the early Church composers, and, indeed, has been generally called the father of English music. The date of his birth is not known, but as he was organist and composer to an important monastery at the time of its dissolution in 1540, it is not only evident that he must have been born early in the century, but that his genius was decidedly precocious. Some authorities give the date as about 1529; Grove's Dictionary, on the other hand, as supposedly in the second decade of the century: this seems more probable, as the former would have found him holding such a conspicuous appointment at the age of eleven. It is a fact of much significance that he was a prominent composer before the Reformation, and thus a descendant of the ancient school of English Church music, pure and unalloyed.

His earliest compositions were, of course, written to Latin words, and the publication of his motets in that language in 1575, more than thirty years after its suppression, suggests that the call of his early training and a.s.sociations was greater than he could resist, for it must be borne in mind that those were days of fierce bigotry, and many had been undone for acts much less provocative of "suspicion."

Indeed, of all the immediate changes in the Church services effected under Henry VIII., perhaps the most important, after those a.s.serting severance from Rome, was the subst.i.tution of English in place of Latin in their administration, and on no point were the reformers more jealous, since it implied complete freedom from outside interference and, above all, that of the Pope.

That Tallis escaped trouble on this occasion shews that he was a decidedly fortunate, or as some unkind critics suggest, a decidedly adroit being. They even go to the length of comparing him to the "Vicar of Bray," because of the continuity of his employment in the Church during four reigns, in which such diverging views were inculcated and, outwardly at least, demanded of acceptance. Thus Henry VIII., who broke the Roman connection, but generally upheld its doctrines; Edward VI., who repudiated them; Mary, who not only enforced them, but restored, as far as she was able, the _status quo_ before the act of separation from Rome; and Elizabeth, who reverted, practically, to the position as it was at the death of her father, additional alterations in the liturgy excepted.

The "Vicar of Bray" theory seems to me to be quite easy of demolition.

With regard to King Henry and Queen Elizabeth, they were, both, skilled musicians and perfectly capable to appreciate the genius of Tallis in its highest aspects, and were, therefore, little likely to rid the Church of so brilliant an ornament.

In the intervening reigns, it seems only natural to suppose that many who still adhered to their Catholic principles, while bowing to the inevitable for the time being, and, knowing the precarious state of the health of the young Prince, foresaw the probable accession of Queen Mary and the consequent restoration of the ancient Church. Of these, Tallis may have been one.

On the actual accession their hopes seemed justified to the fullest extent, and only the fact of the Queen proving childless rendered them futile.

It is difficult, if not impossible, to say with any approach to exact.i.tude what were, precisely, the immediate changes in the forms of the Church services insisted on at the moment of King Henry's rebellion against Papal supremacy. It is, however, only natural to a.s.sume that all reference to that supremacy would be eliminated, and that the use of the English language would be insisted upon, so as to mark, once and for all time, the absolutely irrevocable nature of the act.

The state of affairs in the Church must have been absolutely chaotic, what with those who, while remaining Catholic in principle, were willing to accept such changes as were not inconsistent with their faith, and others who were anti-Catholic by conviction and desirous of banishing all traces of the past, so far as it might be possible.

It was to these that the young King extended his sympathy and help, on his accession to the throne.

His death after a short reign and the consequent accession of Queen Mary, simply made "confusion worse confounded." Although strenuous in her methods, she had not time to achieve what she had at heart, and her death put an end for ever to the hopes of the extreme Catholic party.

However much had been carried out that Queen Elizabeth at once settled herself to undo, and thus prolonged, perhaps inevitably, the crisis through which the Church was pa.s.sing.

It is not difficult to imagine the delicate position in which musicians found themselves at various times during this crucial period. Let me quote Mr. Myles B. Foster in his interesting book, "Anthems and Anthem Composers"[14]: "Can we not picture the puzzled state of these poor composers, never knowing whether, by setting their music to the new English words, they would be burned alive, or, by using the old Latin ones, they would be hanged!"

With the accession of Queen Elizabeth these critical times may be said to have become a thing of the past--at least for the musician. The policy of the wonderful Queen was based on compromise, by which she endeavoured to so broaden the lines of the Church as to make it possible for the two factions to remain within its boundaries. So far as the extremists on either side are concerned, the idea was doomed to failure, but while she lived she pursued the policy with characteristic pertinacity, and unenviable was the fate of the too-reforming Bishop who encountered her displeasure. The state of the Church of England to-day seems, at once, a tribute to her genius and foresight, for while the trend of feeling and opinion certainly continued to move in the direction of Protestantism, the opposing principles never became quite extinct.[15]

It was, undoubtedly, under circ.u.mstances of great uncertainty that Tallis was called upon to write music for a reformed liturgy that was at once novel and, probably, seeing his early training, distasteful to him.

How he met the emergency is evident to-day, for his "Preces and Responses" not only remain in use, but are a priceless possession of the English Church. On the greatness of Tallis as a composer it is needless to insist, for it has been universally acknowledged. His contrapuntal skill was amazing, his fertility and originality equally so, and everything he wrote bears the impress of a n.o.bility of mind difficult of description. That he remained in high favour with the Queen until his death, is shewn by the grants of land and other proofs of her regard that she bestowed on him. A complete list of his compositions (so far as can be known) is given in Grove's "Dictionary of Music and Musicians,"

and is a striking proof of his immense activity.

To secular music he seems to have been quite indifferent, for, to all appearances, he wrote little or none.

He died in 1585 when, probably, about seventy years of age, and was buried in the parish church of Greenwich. We have other of the early English musicians to deal with, but none, I think, of such unique interest, as he was the first of whom we have any reliable record, the works of his predecessors having been literally _burnt_ out of existence.

WILLIAM BYRD

Date of Byrd's birth unknown--Pupil of Tallis--Strict Catholic, yet employed in the English Church--Explanation--Queen Elizabeth's protection--Organist of Lincoln Cathedral--Member of the Chapel Royal--Granted sole privilege of publishing music in conjunction with Tallis--Greatness as composer, both sacred and secular music--His ma.s.ses--His character--His death.

The date of the birth of this composer is quite unknown. Many speculations have been made on the subject, but they are purely conjectural. It seems certain, however, that he was born late in the first half of the sixteenth century, and thus at the time of the highest development of the ancient English ecclesiastical school of music. He had the inestimable privilege of being a pupil of Tallis, and remained his friend and colleague until the death of the latter dissolved the connection in 1585.

Unlike most of his contemporaries, he st.u.r.dily refused to change his religious views at the capricious behests of any monarch, and, strange to say, he does not seem to have suffered for his constancy materially, for he continued in official employment and the favour of Elizabeth as long as the Queen lived.

This fact has often evoked expression of astonishment, and has been cited as a proof, not only of the unstable position in the Church itself, but of instability in the character of its rulers.

It seems to me to be simply one more proof of the extraordinary tenacity with which Queen Elizabeth held to her policy of trusting to the influence of time to gradually moderate opposing views, and ultimately cement them in one creed which should embody the essential beliefs of both.

In any case, two things are known, that his services were retained, and that he adhered to the use of Latin for his sacred music. This, of course, means that either none of his music was sung in the Church, or that the occasional use of Latin for singing was permitted. The latter, I think, extremely probable, at least in the early years of the Reformation. He was appointed organist of Lincoln Cathedral in 1563, and in 1569 became a member of the Chapel Royal. In 1575 he published, in conjunction with Tallis, a collection of motets, which was dedicated to the Queen. It may be noted that it was printed by one Vautrollier, although the two composers had recently acquired the right of exclusively printing music for twenty-one years. It may be a.s.sumed that they sub-let the privilege, for it is known that after the death of Tallis, Byrd became sole possessor of the monopoly. This collection was ent.i.tled "Cantiones, quae ab argumento sacrae vocantar, quinque et s.e.x partum." Unlike Tallis, he did not confine his energies to sacred music, but wrote much for the virginals, as well as some beautiful madrigals.