Organists of Westminster Abbey
| NAME | DATE |
| John Howe | 1549 |
| Master Whitt | 1560 |
| John Taylor | 1562 |
| Robert White | 1570 |
| Henry Leeve | 1575 |
| Edmund Hooper, the first regular appointment as Organist | 1588 |
| John Parsons | 1621 |
| Orlando Gibbons | 1623 |
| Thomas Day | 1625 |
| Richard Portman | 1633 |
| Christopher Gibbons | 1660 |
| Albertus Bryne | 1666 |
| John Blow | 1669 |
| Henry Purcell | 1680 |
| John Blow | 1695 |
| William Croft | 1708 |
| John Robinson | 1727 |
| Benjamin Cooke | 1762 |
| Samuel Arnold | 1794 |
| Robert Cooke | 1803 |
| George Ebenezer Williams | 1815 |
| Thomas Greatorex | 1819 |
| James Turle (living)71 | 1831 |
MASTERS OF THE CHORISTER BOYS OF WESTMINSTER ABBEY.
| NAME | DATE |
| John Taylor | 1562 |
| Robert White | 1574 |
| Henry Leeve | 1575 |
| Edmund Hooper | 1585 |
| John Gibbs | 1605 |
| John Parsons | 1613 |
| Thomas Day | 1623 |
| Richard Portman | 1633 |
| James Trye | 1637 |
| Walter Porter | 1639 |
| Henry Purcell (senior) | 1661 |
| Christopher Gibbons | 1664 |
| Thomas Blagrave | 1666 |
| Edward Braddock | 1670 |
| John Church | 1704 |
| Bernard Gates | 1740 |
MUSIC COPYISTS OF WESTMINSTER ABBEY.
| NAME | DATE |
| Henry Purcell (senior) | 1661 |
| Christopher Gibbons | 1664 |
| Stephen Byng | 1673 |
| Henry Purcell (junior) | 1676 |
| William Tucker | 1678 |
| Charles Taylour | 1684 |
| Henry Purcell | 1688 |
| Edward Braddock | 1690 |
| John Church | 1710 |
| John Buswell | 1761 |
| Thomas Vanderman | 1763 |
| Thomas Barrow | 1782 |
Chronological Memoranda
1658. Henry Purcell, the composer, born.
1659. Meeting of Purcell’s father, Matthew Locke, and Pepys.
1661. Charles the Second crowned. Henry Purcell, the father, and Thomas Purcell, the uncle of the composer, attend the coronation as gentlemen of the Chapel Royal.
1663. Purcell’s father appointed a member of the Royal Band.
1664. The father died. Purcell entered the Chapel Royal under Captain Cooke.
1667. Purcell’s three-part song, “Sweet Tyraness,” published.
1669. Purcell composed “An Address to the King.”
1672. Purcell’s master, Captain Cooke, died; succeeded by Pelham Humphreys.
1674. Humphreys died; succeeded by Dr. John Blow.
1676. Purcell appointed copyist of Westminster Abbey. Composed music for (1) “Epsom Wells;” (2) “Aurenge-Zebe; (3) “The Libertine.”
1677. Purcell composed an Elegy on the death of Matthew Locke; also the music for “Abdelazor.”
1678. Resigned the appointment of copyist at Westminster Abbey. “Sweet Tyraness,” newly arranged, republished. Music for “Timon of Athens” composed.
1679. Composed music for Rev. John Gostling’s voice.
1680. Appointed organist of Westminster Abbey. Composed music for (1) “The Virtuous Wife;” (2) “Theodosius;” and the Opera “Dido and Æneas.” Also two Odes, “A welcome song for his Royal Highness’s return from Scotland,” and “A song to welcome his Majesty home from Windsor.”
1681. Composed an Ode for the King, “Swifter, Isis, swifter flow.”
1682. Purcell appointed organist of the Chapel Royal. Composed an Ode for the King “On his return from Newmarket;” also music for “The Lord Mayor’s Show.” His uncle Thomas died; a son, John Baptista, born and died.
1683. Sonatas of three parts published. Appointed “composer in ordinary” to the King. Composed three “Odes for the festival of St. Cecilia;” also “A welcome song for the King;” “Fly, bold rebellion;” and Ode, “From hardy climes,” for Prince George of Denmark, on his marriage with the Princess Anne.
1684. Published a “St. Cecilia” Ode. Composed an Ode to welcome the King, “On his return to Whitehall after his summer’s progress.” Performed on the new organ erected by Father Smith in the Temple Church.
1685. James II. crowned in Westminster Abbey. For the ceremony Purcell composed two Anthems, “I was glad,” and “My heart is inditing.” Composed an Ode, “Why are all the muses mute,” in honour of the King. Also the music for “Circe.”
1686. Composed “Lilliburlero,” also the music for “Tyrannic Love.” His brother and pupil, Daniel, appointed organist of Magdalen College, Oxford. His infant son, Thomas, died. An Ode for the King, “Ye tuneful muses,” composed.
1687. Composed an Elegy on the death of John Playford, the younger. An Ode for the King, “Sound the trumpet, beat the drum.” Purcell’s son, Henry, born and died.
1688. Purcell composed, by command, a thanksgiving Anthem for the Queen’s pregnancy, “Blessed are they that fear the Lord.” Composed also the music for “A fool’s preferment,” an Ode “For the King,” and the Anthem, “The Lord is King.” A daughter, Frances, born.
1689. William and Mary crowned in Westminster Abbey. Purcell threatened, by Dean and Chapter of Westminster, with suspension. Composed “Celestial music” an Ode “At the Prince of Denmark’s coming home,” also “The Yorkshire feast song.” A son, Edward, born.
1690. Purcell composed an Ode, “Arise my muse,” for the Queen’s birthday, and another, “Sound the trumpet,” for King William. Also music for (1) “The Tempest;” (2) “Dioclesian;” (3) “Massacre of Paris;” (4) “Amphitryon.”
1691. He composed music for (1) “Distressed innocence;” (2) “King Arthur;” (3) “The Gordian knot untyed;” (4) “Sir Anthony Love;” also an Ode, “Welcome, glorious morn,” for the Queen’s birthday.
1692. He composed the music for (1) “The Fairy Queen” (and published “Some select songs” from that opera); (2) “The Wife’s excuse;” (3) “The Indian Queen;” (4) “The Indian Emperour;” (5) “Œdipus;” (6) “Cleomenes;” (7) “The marriage-hater match’d;” also an Ode, “Love’s goddess sure was blind,” for the Queen’s birthday, and an Ode, “Hail, great Cecilia,” for the anniversary of St. Cecilia.
1693. He composed a Commemoration Ode, “Great Parent, hail,” for Trinity College, Dublin, and music for (1) “The old bachelor;” (2) “The Richmond heiress;” (3) “The maid’s last prayer;” (4) “Henry the Second.” Also an Ode, “Celebrate this festival,” for the Queen’s birthday.
1694. He composed music for the first and second parts of (1) “Don Quixote;” (2) “The married beau;” (3) “The double dealer;” (4) “The fatal marriage;” (5) “Love triumphant;” also the Te Deum and Jubilate in D for the festival of St. Cecilia, and an Ode, “Come, ye sons of art,” for the Queen’s birthday. “The art of descant,” for John Playford.
1695. He composed Anthems for the funeral of Queen Mary, “Blessed is the man,” and “Thou knowest, Lord.” Two Latin Elegies on the Queen. A birthday Ode, “Who can from joy refrain?” for the Duke of Gloucester. Music for (1) “The Canterbury Guests;” (2) “The Mock Marriage;” (3) “The Rival Sisters;” (4) “Oroonoko;” (5) “The Knight of Malta;” (6) “Bonduca;” (7) “The third part of Don Quixote.” Purcell died Nov. 21st; buried in Westminster Abbey, Nov. 26th.
1699. Purcell’s mother died.
1706. Purcell’s widow died.
1707. Purcell’s daughter married to L. Welsted.
1710. Purcell’s son, Edward, married.
1717. Edward Purcell and Daniel Purcell, the composer’s brothers, died.
1726. Purcell’s son, Edward, organist of St. Margaret’s, Westminster.
1737. Edward Henry Purcell, grandson of the composer, a child of the Chapel Royal.
1738. Purcell’s son, Edward, organist of St. Margaret’s, Westminster.
1740. Edward died.
1753. Edward Henry Purcell, grandson of the composer organist of St. John, Hackney.
1765. Not re-elected to St. John, Hackney.
Footnotes
1 John Milton the father of the poet was the author of a six-part madrigal, “Fayre Oriane in the Morne,” printed in 1601, of four motets in Leighton’s “Tears or Lamentacions” (1614), and of several Psalm tunes. He also composed an “In Nomine” in forty parts, for which he received a gold medal and chain from a Polish prince.
2 In a room behind Rutland House, Aldersgate Street.
3 “Instrumental and Cathedral music I have ever been wilfully ignorant of, because I have dearly loved them, and if I had learnt them to a perfection, this satiety might have bred a nauseous distaste and surfeit, as in other things, and then I had nothing to delight in. But alas! this conceit hath failed me, for now all church music my highest terrene content is abandoned amongst us.”—Philip King’s “Surfeit,” 1656.
4 They acted together in “The Siege of Rhodes” in 1656.
5 His name appears in the cheque-book of the Chapel Royal as Henry Purcill, and from the same source we learn that he, in common with the other gentlemen of the Chapel, received (each of them), four yards of fine scarlet cloth for a gown to wear at the coronation.
6 George Dalham, a well-known organ builder. Dr. Rimbault says Father Smith built the organ erected in Westr Abbey at the Restoration, but this payment would suggest a doubt as to his accuracy.
7 Hill played the treble parts on the cornet in consequence of the difficulty previously mentioned, of obtaining efficient boys. He was buried in the cloisters of W. A., in 1667.
8 Christopher Gibbons, son of the celebrated Orlando Gibbons, was organist of Winchester Cathedral in the reign of Charles I., but on the breaking out of the civil war he became a soldier. He was admitted Doctor of Music at Oxford, by the special desire of Charles II.
9 Where the word “nil” now stands in the MS. there has evidently been an erasure of some figure or figures.
10 Harl. MSS. 1911.
11 Cooke performed the part of “Solyman” in The Siege of Rhodes, in 1656, and also composed the music for the second and third acts of the opera.
12 Wood, M.S. Ashmole, 8568.
13 A copy of this birthday Ode, in the handwriting of Pelham Humphreys, was in the possession of the late Dr. Rimbault.
14 In my own library.—W. H. C.
15 Johnson’s music is printed in Stafford Smith’s Musica Antiqua.
16 Spelt variously, Humfrey, Humphrey, Humphries.
17 The following entries are from the account of Secret Service moneys kept by Sir John Shaw:—
“1664. To Pelham Humphreys, to defray the charge of his journey to France and Italy, 200l.”
“1665. To Pelham Humphreys, bounty 100l.”
“1666. To Pelham Humphreys, bounty 150l.”
18 Louis Grabut.
19 Dr. Burney is particularly severe in condemning Blow’s “crudites and violations of rule,” and prints four pages of examples of Blow’s sins; but there can be little doubt that a musician of the present day would regard the faults as mere spots on the sun of Blow’s splendid music. Those who care to see what Blow could write should look at the anthems, “I was in the Spirit,” and “I beheld, and lo.”
20 For a list of Copyists of Westminster Abbey, see p. 112.
21 I am indebted to the late Dr. Rimbault for a copy of this letter.
22 He was succeeded by the Rev. William Tucker, Minor Canon of the Abbey, and Priest of the Chapel Royal, an excellent composer, who died in 1689. The following entry refers to his work:—
“In moneys recd. and paid for secret services of Charles II.”
“To Eliza Tucker, wido relict of Wm. Tucker, for her husband’s writing in 15 books, the anthems with symphonies for King Charles the 2nds use in his Chappell Royal, 15l.”
23 The original of this letter is in my possession.—W. H. C.
24 1678 by the old style, but 1679 by the new.
25 The music was published in a collection called The Catch Club; or, Merry Companions.
26 For a list of the Organists of Westminster Abbey, see p. 111.
27 In 1794 S. Harding published a portrait of “Henry Purcell, musician and actor,” copied from the original in Dulwich College. I have made diligent search for the painting without success.—W. H. C.
28 Know all men by these presents that I, Thomas Purcell, of the Parish of St. Martin’s-in-the-Fields, in the County of Middx., one of the gentlemen of his Mats Chappell Royall, and servant to his Matle, have assign’d, ordain’d, and made, by these presents doe assigne, ordayne, and make my trusty and well beloved son, Mathew Purcell, my true and lawful Attorney for me and in my name, and to my use to aske, take, and receive all such arrears and summes of money as are due, and hereafter will become due and payable to me the said Thomas Purcell out of his Mats Treasury, Chambr Exchequer, Coffery office, or any other place or office whatsomever, giving, and by these presents granting unto my sd Attorney my whole Power and authority in and about the premisses, and upon Rect of any such summes of money aforesaid, Acquittance, or other discharges for me and in my name to make and give, and for me and in my name to doe and performe as fully and largely in every respect to all intents and purposes as I myself might or could doe if I were there personally present, ratifying, confirming, and allowing all and whatsomever my said Attorney shall lawfully do or cause to be done in and about the premisses aforesaid by Vertue of these presents. In witness whereof I have hereunto set my hand and seale, this 15th day of May in the three-and-thirtieth yeare of King Charles the Second over England, &c. Annoq. Domini 1681. T. Purcell.
Sealed and delivered in the
presence of
F. Purcell.
Witt. Walley.
29 Giovanni Baptista Draghi, born in Italy, came to England about the middle of the 17th century, and at the death of Matthew Locke he obtained the appointment of organist to Catherine of Braganza, wife of Charles II. Draghi was in great request as a performer and teacher of the harpsichord; amongst his pupils were the Princess Anne and probably her sister Mary. He was a good composer, and had by diligent study made himself well acquainted with the compositions of the best English masters whose manner of composing he adopted. He set to music an Ode written by Dryden for St. Cecilia’s day, 1687, and in contemporary copies of the words we find his name anglicised to John Baptist Draghi.
30 This we learn from several advertisements of later date, where it is stated, “At John Carr’s shop may be had the musical entertainment for last St. Cecilia’s Day. The words made by Mr. Christopher Fishburn, and set to music in two, three, four, and six parts by Mr. Henry Purcell, Composer in Ordinary to His Sacred Majesty, and one of the Organists of His Majesty’s Chappel Royal.”
31 Smith was organist of St. Margaret, Westminster.
32 So spelt in the registers of Westminster Abbey, but “Banester” on his monument.
33 See No. 15 of The Ancient Vocal Music of England, by E. F. Rimbault, published by Novello & Co.
34 See Concordia, April 15 and 22, 1876.
35 Apology for the Life of Colley Cibber.
36 History of Music, Novello’s Edition, vol. ii. p. 743.
37 “The Songs in Amphitryon, with the Musick. Composed by Mr. Henry Purcell. London: printed by J. Heptinstall for Jacob Tonson, at the Judge’s Head in Chancery Lane. MDCXC.”
38 Dioclesian.
39 North, in the Memoires of Musick, 1728, mentions Purcell’s King Arthur as at that time “unhappily lost.”
40 Round about Piccadilly, by Wheatley, p. 294.
41 Hawkins’s History of Music, vol. ii. p. 753.
42 See Sir Walter Scott’s Life of Dryden.
43 Hogarth’s Memoirs of the Musical Drama, 1838.
44 Reading and Pate some three years afterwards figured in another kind of Duo; the Post-Boy, June 20th, 1695, has the following paragraph:—“I am informed that the Lord Chamberlain hath been pleased to displace Mr. Pate and Mr. Reading from their places in the Playhouse for being in the late riot at Drury Lane.” The riot had occurred at the “Dog Tavern,” and in consequence several persons were prosecuted and found guilty; some were fined 500 marks each, but Reading and Pate were fined only twenty marks each; probably their fines were reduced in consideration of their dismissal by the Lord Chamberlain. They were, however, soon afterwards reinstated in their previous appointments.
45 Nichol’s Select Collection of Poems.
46 In the thirteenth edition published in 1697, the third part has the following heading:—“The art of Descant, or composing musick in parts; made very plain and easie by the late Mr. Henry Purcell.”
47 The last piece Dryden wrote for the stage.
48 The music was published by Walsh with the following new title, “Te Deum et Jubilate for voices and instruments perform’d before the Sons of the Clergy at the Cathedral Church of St. Paul. Composed by the late Mr. Henry Purcel.” This led to a notion that the music had been composed for the “Sons of the Clergy” festival.
49 This third part is so scarce that probably only one or two perfect copies now exist.
50 In my own library.
51 It is evident from this will that Purcell’s youngest child, Mary Peters, had died since her father’s decease.
52 Anecdotes, Biographical Sketches, by Letitia Matilda Hawkins.
53 “The English affect more the Italian than the French music, and their own compositions are between the gravity of the first and the levity of the other. They have had several great masters of their own. Henry Purcell’s works in that kind are esteemed beyond Lully’s everywhere, and they have now a good many very eminent masters; but the taste of the town being at this day all Italian, it is a great discouragement to them.”—Mackay’s Journey Through England, 1722-3.
54 Dr. King’s Bibliotheca, 1712.
55 The flute of Purcell’s day was blown at the extreme end like a flageolet, the modern flauto traverso was unknown.
56 Stafford Smith’s Collection of English Songs, 1779.
57 Purcell is named as one of the possessors of property in a map of Ireland made about the middle of the seventeenth century.
58 Cosyn usually meant nephew.
59 Meaning buried in the Church.
60 The autograph score is in the British Museum.
61 “On Wednesday next will be performed at York Buildings Mr. Daniel Purcell’s musick, made for last St. Cecilia’s Feast, for the benefit of Mr. Howel and Mr. Shore, with an addition of new vocal and instrumental musick.”—London Gazette, December 29, 1698.
62 1700 according to the new style.
63 A pupil of Henry Purcell.
64 “A Song sung by Mr. Mason in Magbeth, sett by Mr. D. Purcell, ‘Cease, gentle Swain,’ in the Queen’s library, Buckingham Palace.”
65 Vol. ii. p. 759, new Edition. Novello & Co.
66 Extracted from the Vestry books of St. Andrew’s, Holborn.
67 Baker’s History of Northamptonshire, vol. i. p. 17.
68 “Frances, daughter of Leonard Welsted, Gent, and Frances his wife.”
69 1750.
70 The master was Bernard Gates.
71 Mr. Turle having retired from active duty, Dr. J. F. Bridge is now appointed permanent deputy organist.