and recitative music" for Sir Robert Stapylton's tragicomedy, "The Step-mother," and in 1670 he was engaged to furnish the instrumental music for Dryden and Davenant's audacious adaptation of "The Tempest." In 1672 he wrote the music for Davenant's alteration of " Macbeth," in which were introduced the songs and choruses from Middleton's "Witch." That the music was Lock's is expressly stated by Downes in his "Roscius Anglicanus," and under his name it was printed by Dr. Boyce, about 1750-1760. It has, however, been claimed for Purcell, on the single ground that a manuscript score of it exists in his handwriting; but against this must be set the fact that when the "Macbeth" music was produced Purcell was a boy of thirteen, and had had no dramatic experience. In 1673, Lock composed the music (with the exception of the act tunes by Draghi) for Shadwell's "Psyche," and published it in 1675, together with the "Tempest" music, under the title of "The English Opera." In a sharply-worded preface he explained his views of the right method of operatic construction, which were based evidently on his study of Lulli. About 1672 he was engaged in a singular controversy with Thomas Salmon, of Trinity College, Oxford, who, in "An Essay to the Advancement of Music," had proposed to abolish the different clefs, and substitute the letter B for the bass, M for the mean or tenor part, and Tr for the treble. replied in a style of much vehemence in his "Observations upon a late book, entitled "An Essay, &c.," to which Salmon rejoined, with equal acrimony in his "Vindication of an Essay to the Advancement of Music, from Mr. Matthew Lock's Observations, inquiring into the real Lock Nature and most convenient Practice of that Science." Lock terminated the controversy in 1673, by his "Present Practice of Music Vindicated. . . . To which is added -Duellum Musicum, by John Phillips [the nephew of Milton]. Together with a Letter from John Playford to Mr. T. Salmon in Confutation of his Essay." Thus assailed by a threefold band of critics, the unfortunate Salmon wisely relapsed into silence. His proposed innovation had nothing to recommend it, and has never been accepted. Lock, in attacking it, was tilting at a windmill. In 1673 this industrious, if hot-tempered, musician gave to the world his "Melothesia, or Certain General Rules for Playing upon a Continued Base, with a Choice Collection of Lessons for the Harpsichord or Organ of all Sorts "the first work of the kind published in England. And in the same year appeared his "Little Consort of Four Parts" for viols, consisting of pavan, ayre, cornet, and saraband. He died in 1677, and Purcell composed an elegy on his death. One of the first set of children in the Chapel Royal, after the Restoration, was Pelham Humfry, or Humphrey. He was born in 1647, and was the nephew, it is said, of Colonel John Humphrey, a noted Cromwellian, and President Bradshaw's sword-bearer. His musical faculty was displayed at a comparatively early age; for in Clifford's "Divine Services and Anthems," 1663-4, are given the words of five anthems, "composed by Pelham Humfrey, one of the Children of His Majesti's Chappel." While still a chorister he joined his companions, Blow and Turner, in composing as a memorial of their common friendship "The Club-Anthem," the first portion being written by Humfry, the latter portion by Blow, and Turner supplying a connecting bass solo. In 1664 Charles II. sent him abroad to study music, defraying his expenses, which amounted in 1664-1667 to £450. He spent his time chiefly in Paris, under the illustrious Lulli. In October, 1667, he returned to England, and was sworn in as a Gentleman of the Chapel Royal; and in July, 1672, on the death of Captain Henry Cook, which Wood absurdly ascribes to his jealousy of Humfry,* was appointed Master of the Children. On the 8th of August following he and Purcell were favoured with a patent as joint "Composers in Ordinary for the Violins to His Majesty;" but he enjoyed the honour and profit of these offices only for a couple of years, dying, at the early age of 27, on the 14th of July, 1674. In his short life Humfry gave a distinct impulse to English music, embodying in his compositions the fine effects he had learned under Lulli. Some of his anthems are still in vogue; and musicians are well acquainted with the beauty of not a few of his songs. Pepys, in his Diary, notes, under the date of February 20th, 1667, that " they talk how the King's violin, Banister, is mad, that a Frenchman [Louis Grabu] is come to be chief of some part of the King's music." This Banister was the son of one of the "waitts" of St. Giles'sin-the-Fields, London; was born in 1630, educated by his father, and attained to remarkable facility of execution as a violinist. His talent attracted the notice of Charles II., who sent him abroad to study, and on his return appointed him leader of his private band. He lost his post * Wood says that Cook was esteemed "the best musician of his time to sing to the lute, till Pelham Humfrey, his scholar, came up, after which he died of grief." in 1667 for asserting, in the King's hearing, that the English violinists were superior to those of France. Banister was the founder of that important institution, the weekly concert, and the first musician who appealed to the public through the medium of advertisements. Whether in either capacity he merits the gratitude of the profession we leave the reader to determine. His announcements appeared in the London Gazette. As for example : "These are to give notice that at Mr. John Banister's house, now called the Musick-School, over against the George Tavern in White Friars, this present Monday, will be musick performed by excellent masters, beginning precisely at four of the clock in the afternoon, and every afternoon for the future, precisely at the same hour." This appeared on December 30th, 1672, and from similar notices, occurring in a long series, it is evident that Banister carried on his concerts until his labours were terminated by his death on the 3rd of October, 1679. Banister was a sound musician: he joined Pelham Humfry in composing music for " The Tempest," on its revival in 1676, and in the same year he wrote the incidental music for Charles Davenant's tragedy of "Circe." English Church music owes not a little to the genius of Dr. John Blow, whose services and anthems exhibit a really majestic style of treatment. Severe critics find fault with his "crudities," and it may be admitted that his contrapuntal arrangements sometimes err on the side of freedom, but in the general elevation and excellence of his work this may be forgiven. We hold it discreditable to our music publishers that so much of his music still remains in manuscript; and are convinced that the public would gladly welcome a complete edition of his composi- tions for the Church. Many of his sacred songs, duets, catches, organs, secular songs, and odes* have been published, either separately or in "collections," but some seventy or eighty anthems are still in manuscript. We transcribe one of his lighter efforts-a smooth and graceful Pastoral Ballad : Since the spring comes on, and the teeming earth Gives John Blow, a native of North Collingham, in Nottinghamshire, where he was born in 1648, was a fellow-pupil with Humfry under Captain Cook; but he had also the advantage of being instructed by Hingeston and Dr. Christopher Gibbons. When a lad of fifteen he gave * Such as the "Ode for St. Cecilia's Day," and Dryden's "Ode on the Death of Purcell." |