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Speaker 1 (00:00):
Chapter eleven of Twelve Good Musicians from John Bull to
Henry Purcell. This is a LibriVox recording. All LibriVox recordings
are in the public domain. For more information or to volunteer,
please visit LibriVox dot org. Recording by Chad Jackson. Twelve
(00:20):
Good Musicians from John Bull to Henry Purcell by Frederick Bridge,
Chapter eleven, Doctor John Blow sixteen forty eight to seventeen
o eight. If there is one name among the twelve
musicians with whom I am dealing in this course of
lectures to which I desire specially to do justice, it
(00:41):
is that of doctor John Blow. As a child, I
sang his anthems in Rochester Cathedral, and I well remember
the delight with which I listened to and took part
in his beautiful and expressive I beheld and lo a
great multitude, and I was in the spirit on the
Lord's day in the In those days the great masterpieces
(01:01):
of the English Cathedral school were constantly done and very
well done at Rochester. And none of the anthems, except
I may say, perhaps Purcell's great anthem, oh sing unto
the Lord, touched me and thrilled me, as did that
of Blow, And as long as I played in Manchester
Cathedral and Westminster Abbey, so long did I feel the
(01:22):
power and religious impressions of these splendid specimens of Blow's genius.
Of course, there are many anthems and services by this master,
but none to me at least, ever spoke so eloquently
as did the two I have mentioned. This is one
reason why I approached the subject of Blow's career with
such a desire to do him justice. Another is the
(01:43):
strange neglect of most of his secular music, and lastly
the absurd and ignorant criticism of doctor Burney, as displayed
in his history, where he talks of Blow's crudities. Without
further delay, let us proceed to trace his musical life.
I refrain, on account of time, from dwelling much on
biographical details in these lectures, so I will merely state
(02:06):
that it seems pretty certain that Blow was born at
North Collingham in Nottinghamshire, and baptized in the parish Church
of Newark in February of sixteen forty eight or sixteen
forty nine. Let us begin with recording his admission as
a chorister to the Chapel Royal one of the clever
boys whom Captain Cook got together and taught of his
(02:26):
schoolfellow Pelham Humphrey. I have already spoken, and, like Humphrey,
Blow composed anthems while in the choir. It is possible,
or rather I think probable, that an entry in Pepy's
diary refers to him. Under the head of August twenty first,
sixteen sixty seven, we read this morning come two of
Captain Cook's boys, whose voices are broke and are gone
(02:48):
from the chapel. But I have extraordinary skill, and they
and my boy, with his broken voice, did sing three parts.
Their names were Blow and Loggins. But notwithstanding their skill,
yet to hear them sing with their broken voices, which
they could not command to keep in tune, would make
a man mad, so bad it was. If this refers
to Blow, he would be about nineteen years old and
(03:11):
could have had but a very broken voice. But it
is not impossible, as many boys retain their voices until
a good age and continue singing alto in a moderate
sort of style. It is hardly likely there would be
a boy named Blow and one named Blow. And there
was some arrangement whereby boys who had left the choir
continued to reside with the masters, possibly to study. At
(03:34):
the early age of twenty one. In sixteen sixty nine
he became organist of Westminster Abbey, and the appointment apparently
was not enough for his ambition, or more probably for
his needs, for in sixteen seventy four he succeeded Humphrey
as Master of the Children of Chapel Royal, becoming organist
also while still holding Westminster Abbey in sixteen seventy six.
(03:56):
As regards his degree of music doctorate, I have, on
the authority of the late Doctor Southgate to make a
little correction of former statements. It has generally been said
the degree was conferred upon Blow by Archbishop Sancroft. But
Doctor Southgate told me in a note when I was
about to lecture on Blow some years ago, that the
degree was granted by Bancroft's representative, the Dean of Canterbury,
(04:19):
the Archbishop being dead. It is marked in the Lambeth Register,
said Vicante. It is thus bestowed when the sea was vacant.
It is a curious fact that Blow gave up his
abbey post in sixteen eighty, being succeeded by Purcell, and
on Purcell's death. In sixteen ninety five, he was again
appointed organist of the abbey and held that post until
(04:40):
his death. But I have to record yet another important
cathedral appointment which our indefatigable musician held. He was almoner
and Master of the choristers in Saint Paul's Cathedral, holding
those offices for six years from sixteen eighty seven to
sixteen ninety three. Again he seems to have resigned in
favor of a pupil, mister Jeremiah Clarke. It is a
(05:02):
remarkable testimony to the esteem in which he was held
that he should have filled posts at the Chapel Royal,
Saint Paul's Cathedral, and Westminster Abbey all the same time.
Bishops in the old days often presided over a diocese,
filled a cannonry, or directed a college, and occupied a
living or two simultaneously. But Blow seems to me to
(05:23):
have been the greatest organist pluralist on record. But this
is a testimony to his worth, And in following up
our investigation of his contribution to music, I will not
dwell longer upon his church music, except to mention that
he wrote an anthem. I was glad for the opening
of Saint Paul's Cathedral in sixteen ninety seven, and to
tell the story of the composition of the anthem which
(05:45):
I mentioned in the early part of my lecture. I
beheld and low when it was performed in the Chapel Royal.
The King, who had asked him to compose it, sent
Father Peter to say that he was greatly pleased with it,
but added, Peter, I myself think it too long, That
answered Blow is the opinion of but one fool. I
he did not. The priest was greatly incensed at this remark,
(06:07):
and it is said that had not James the second
lost his place by his sudden flight to France, doctor
Blow would have lost his Among the anthems of this
composer may be mentioned two which he wrote for the
coronation of James the Second, and he also took part
in the funeral of William the Third in the abbey, receiving,
according to an abbey record, the very large fee of
(06:28):
seven shillings ten pence for the latter. He does not
seem to have directed the music at the coronation, but
took part in the choir on the death of his
pupil Purcell. He wrote an ode the words by Dryden,
beginning mark how the Lark and Lynnet sing. I must
not omit to mention that he and Purcell were the
organists selected by Father Smith to display the organ of
(06:50):
the Temple Church at the memorable competition between Smith and Harris,
the two rival organ builders. Smith won the day and
showed his wisdom in getting the best men to present
at his instrument. It was the custom for many years
to have an ode for Saint Cecilia's Day, composed for
and performed in Stationer's Hall on the Saint's Day. Blow
(07:10):
wrote the second of these odes in sixteen eighty four,
the year of the Temple Church competition. He published in
seventeen hundred a great collection of his secular vocal music
under the title of Amphion Anglicus, and in his dedication
to the Princess Anne of Denmark, he announces that he
is preparing as fast as I can, a second musical
present my church services and divine composition. He gives his
(07:34):
sentiments with regard to sacred composition in the same dedication,
which are worth repeating to those in truth I have
ever more especially consecrated the thoughts of my whole life.
All the rest I consider, but the blossoms, or rather
the leaves, those I only esteem as the fruits of
all my labors in this kind. With them I began
my first raptures in this art. With them, I hope,
(07:56):
calmly and comfortably to finish my days. The poser did
not carry out his design, though he lived about eight
years after this. A very interesting work which has only
of late years been made, known as a masque entitled
Venus and Adonis. Some years ago I noticed it among
the music in the Chapter library at Westminster. It has
(08:16):
since been edited by mister Arkwright, and quite lately produced
upon the stage at Glastonbury. It is very interesting as
it shows that Blow, like Purcell, had a leaning to
dramatic music, and this mask is specially noticeable as it
consists of musical dialogue not spoken, thus coming very near
to a little opera. Blow also contributed to some choice
(08:39):
lessons for the Harpsichord, a collection published by Playford, to
which also Henry Purcell contributed. There are also interesting specimens
of organ music, among which is a curious arrangement of
the hundredth psalm tune as they are played in churches
and chapels. I have also a copy of a master's
lesson on the hundredth Psalms. It would now be called
(09:01):
a choral prelude for the organ. After a short introduction,
the whole tune appears at intervals in the bass with
very florid upper counterpoint. It is evidence of Blow's knowledge
of organ effects and of his ability as a player
a writer. In seventeen eleven, three years after Blow's death,
tells us he was reckoned the greatest master in the
(09:21):
world for playing most gravely and serenely in his voluntaries,
and we have Purcell's testimony to him as one of
the greatest masters in the world. With this testimony before him,
it seems incredible that doctor Burney should have made such
a fierce onslaught upon this really excellent man and versatile
musician on account of what he calls his crudities. He
(09:42):
has actually given four pages of music type in his
history full of quotations of Blow's misdeeds. I have examined
these carefully, and in many cases the examples are really
a remarkable testimony to Blow's advanced ideas and is feeling
for pathetic and expressive harmony in some specimens, their obvious misprints,
accidentals omitted, et cetera, which Berney, had he not been prejudiced,
(10:06):
would certainly have perceived. But it is not worth while
to follow up this matter, although I am sorry to
say Sir Frederick Ousli took rather the same line when
commenting on Blow's music. He really pays Blow a compliment
when he says that he always appears to have been
trying experiments and harmony, or introducing new combinations and discords.
This was what was said of another great musician, Montverde,
(10:29):
to whom we owe so much, and such criticisms only
bring discredit upong the writers who failed to see the
value behind the novelty. Sir Hubert Perry, in speaking of
these crudities, says, they do Blow, for the most part,
great credit, for they show that he ventured beyond the
range of mere conventional, and often with the success that
Betoken's genuine musical insight. I have already commented upon his
(10:53):
greatest anthems I beheld and low and I was in
the spirit. They are full of examples of Blow's melodious power,
and this also comes out in some of his secular airs.
Perhaps one of his best is his beautiful song, which
is to be found in Amphion Anglicus, entitled the Self
Banished beginning it is not that I love you less.
(11:14):
The words are by Waller, and the music is worthy
of them. Blow, as described by Sir John Hawkins, was
a very handsome man in his person, and remarkable for
a gravity and decency in his deportment suited to his station.
This worthy musician died in seventeen o eight, aged sixty,
and is buried in Westminster Abbey, near the old entrance
(11:34):
to the organ loft and in close proximity to purcell.
A fine monument is erected near the spot, and a
specimen of his composition, in the form of gloria from
one of his services, is engraved thereupon. This gloria is
said to have been sung at Saint Peter's at Rome.
I remember an interesting matter in connection with this monument.
(11:55):
In my early days at the abbey during Dean Stanley's time,
the Emperor of Brazil paid a visit and was shown
round the abbey by the Dean. The only thing he
specially asked to be shown was doctor Blow's monument. The
Dean told me his Majesty inspected it very closely and
seemed to be reading the music. He probably knew more
about Blow's music than Bernie's history. Notation one. There is
(12:19):
an account preserved in the Bodilian Library of Blow being
paid forty pounds a year for keeping and teaching two boys.
That this was in sixteen eighty five. It shows that
it was usual for boys who voices were gone to
be kept on for tuition. End of Chapter eleven, Doctor
John Blow
Chapter eleven of Twelve Good Musicians from John Bull to
Henry Purcell. This is a LibriVox recording. All LibriVox recordings
are in the public domain. For more information or to volunteer,
please visit LibriVox dot org. Recording by Chad Jackson. Twelve
(00:20):
Good Musicians from John Bull to Henry Purcell by Frederick Bridge,
Chapter eleven, Doctor John Blow sixteen forty eight to seventeen
o eight. If there is one name among the twelve
musicians with whom I am dealing in this course of
lectures to which I desire specially to do justice, it
(00:41):
is that of doctor John Blow. As a child, I
sang his anthems in Rochester Cathedral, and I well remember
the delight with which I listened to and took part
in his beautiful and expressive I beheld and lo a
great multitude, and I was in the spirit on the
Lord's day in the In those days the great masterpieces
(01:01):
of the English Cathedral school were constantly done and very
well done at Rochester. And none of the anthems, except
I may say, perhaps Purcell's great anthem, oh sing unto
the Lord, touched me and thrilled me, as did that
of Blow, And as long as I played in Manchester
Cathedral and Westminster Abbey, so long did I feel the
(01:22):
power and religious impressions of these splendid specimens of Blow's genius.
Of course, there are many anthems and services by this master,
but none to me at least, ever spoke so eloquently
as did the two I have mentioned. This is one
reason why I approached the subject of Blow's career with
such a desire to do him justice. Another is the
(01:43):
strange neglect of most of his secular music, and lastly
the absurd and ignorant criticism of doctor Burney, as displayed
in his history, where he talks of Blow's crudities. Without
further delay, let us proceed to trace his musical life.
I refrain, on account of time, from dwelling much on
biographical details in these lectures, so I will merely state
(02:06):
that it seems pretty certain that Blow was born at
North Collingham in Nottinghamshire, and baptized in the parish Church
of Newark in February of sixteen forty eight or sixteen
forty nine. Let us begin with recording his admission as
a chorister to the Chapel Royal one of the clever
boys whom Captain Cook got together and taught of his
(02:26):
schoolfellow Pelham Humphrey. I have already spoken, and, like Humphrey,
Blow composed anthems while in the choir. It is possible,
or rather I think probable, that an entry in Pepy's
diary refers to him. Under the head of August twenty first,
sixteen sixty seven, we read this morning come two of
Captain Cook's boys, whose voices are broke and are gone
(02:48):
from the chapel. But I have extraordinary skill, and they
and my boy, with his broken voice, did sing three parts.
Their names were Blow and Loggins. But notwithstanding their skill,
yet to hear them sing with their broken voices, which
they could not command to keep in tune, would make
a man mad, so bad it was. If this refers
to Blow, he would be about nineteen years old and
(03:11):
could have had but a very broken voice. But it
is not impossible, as many boys retain their voices until
a good age and continue singing alto in a moderate
sort of style. It is hardly likely there would be
a boy named Blow and one named Blow. And there
was some arrangement whereby boys who had left the choir
continued to reside with the masters, possibly to study. At
(03:34):
the early age of twenty one. In sixteen sixty nine
he became organist of Westminster Abbey, and the appointment apparently
was not enough for his ambition, or more probably for
his needs, for in sixteen seventy four he succeeded Humphrey
as Master of the Children of Chapel Royal, becoming organist
also while still holding Westminster Abbey in sixteen seventy six.
(03:56):
As regards his degree of music doctorate, I have, on
the authority of the late Doctor Southgate to make a
little correction of former statements. It has generally been said
the degree was conferred upon Blow by Archbishop Sancroft. But
Doctor Southgate told me in a note when I was
about to lecture on Blow some years ago, that the
degree was granted by Bancroft's representative, the Dean of Canterbury,
(04:19):
the Archbishop being dead. It is marked in the Lambeth Register,
said Vicante. It is thus bestowed when the sea was vacant.
It is a curious fact that Blow gave up his
abbey post in sixteen eighty, being succeeded by Purcell, and
on Purcell's death. In sixteen ninety five, he was again
appointed organist of the abbey and held that post until
(04:40):
his death. But I have to record yet another important
cathedral appointment which our indefatigable musician held. He was almoner
and Master of the choristers in Saint Paul's Cathedral, holding
those offices for six years from sixteen eighty seven to
sixteen ninety three. Again he seems to have resigned in
favor of a pupil, mister Jeremiah Clarke. It is a
(05:02):
remarkable testimony to the esteem in which he was held
that he should have filled posts at the Chapel Royal,
Saint Paul's Cathedral, and Westminster Abbey all the same time.
Bishops in the old days often presided over a diocese,
filled a cannonry, or directed a college, and occupied a
living or two simultaneously. But Blow seems to me to
(05:23):
have been the greatest organist pluralist on record. But this
is a testimony to his worth, And in following up
our investigation of his contribution to music, I will not
dwell longer upon his church music, except to mention that
he wrote an anthem. I was glad for the opening
of Saint Paul's Cathedral in sixteen ninety seven, and to
tell the story of the composition of the anthem which
(05:45):
I mentioned in the early part of my lecture. I
beheld and low when it was performed in the Chapel Royal.
The King, who had asked him to compose it, sent
Father Peter to say that he was greatly pleased with it,
but added, Peter, I myself think it too long, That
answered Blow is the opinion of but one fool. I
he did not. The priest was greatly incensed at this remark,
(06:07):
and it is said that had not James the second
lost his place by his sudden flight to France, doctor
Blow would have lost his Among the anthems of this
composer may be mentioned two which he wrote for the
coronation of James the Second, and he also took part
in the funeral of William the Third in the abbey, receiving,
according to an abbey record, the very large fee of
(06:28):
seven shillings ten pence for the latter. He does not
seem to have directed the music at the coronation, but
took part in the choir on the death of his
pupil Purcell. He wrote an ode the words by Dryden,
beginning mark how the Lark and Lynnet sing. I must
not omit to mention that he and Purcell were the
organists selected by Father Smith to display the organ of
(06:50):
the Temple Church at the memorable competition between Smith and Harris,
the two rival organ builders. Smith won the day and
showed his wisdom in getting the best men to present
at his instrument. It was the custom for many years
to have an ode for Saint Cecilia's Day, composed for
and performed in Stationer's Hall on the Saint's Day. Blow
(07:10):
wrote the second of these odes in sixteen eighty four,
the year of the Temple Church competition. He published in
seventeen hundred a great collection of his secular vocal music
under the title of Amphion Anglicus, and in his dedication
to the Princess Anne of Denmark, he announces that he
is preparing as fast as I can, a second musical
present my church services and divine composition. He gives his
(07:34):
sentiments with regard to sacred composition in the same dedication,
which are worth repeating to those in truth I have
ever more especially consecrated the thoughts of my whole life.
All the rest I consider, but the blossoms, or rather
the leaves, those I only esteem as the fruits of
all my labors in this kind. With them I began
my first raptures in this art. With them, I hope,
(07:56):
calmly and comfortably to finish my days. The poser did
not carry out his design, though he lived about eight
years after this. A very interesting work which has only
of late years been made, known as a masque entitled
Venus and Adonis. Some years ago I noticed it among
the music in the Chapter library at Westminster. It has
(08:16):
since been edited by mister Arkwright, and quite lately produced
upon the stage at Glastonbury. It is very interesting as
it shows that Blow, like Purcell, had a leaning to
dramatic music, and this mask is specially noticeable as it
consists of musical dialogue not spoken, thus coming very near
to a little opera. Blow also contributed to some choice
(08:39):
lessons for the Harpsichord, a collection published by Playford, to
which also Henry Purcell contributed. There are also interesting specimens
of organ music, among which is a curious arrangement of
the hundredth psalm tune as they are played in churches
and chapels. I have also a copy of a master's
lesson on the hundredth Psalms. It would now be called
(09:01):
a choral prelude for the organ. After a short introduction,
the whole tune appears at intervals in the bass with
very florid upper counterpoint. It is evidence of Blow's knowledge
of organ effects and of his ability as a player
a writer. In seventeen eleven, three years after Blow's death,
tells us he was reckoned the greatest master in the
(09:21):
world for playing most gravely and serenely in his voluntaries,
and we have Purcell's testimony to him as one of
the greatest masters in the world. With this testimony before him,
it seems incredible that doctor Burney should have made such
a fierce onslaught upon this really excellent man and versatile
musician on account of what he calls his crudities. He
(09:42):
has actually given four pages of music type in his
history full of quotations of Blow's misdeeds. I have examined
these carefully, and in many cases the examples are really
a remarkable testimony to Blow's advanced ideas and is feeling
for pathetic and expressive harmony in some specimens, their obvious misprints,
accidentals omitted, et cetera, which Berney, had he not been prejudiced,
(10:06):
would certainly have perceived. But it is not worth while
to follow up this matter, although I am sorry to
say Sir Frederick Ousli took rather the same line when
commenting on Blow's music. He really pays Blow a compliment
when he says that he always appears to have been
trying experiments and harmony, or introducing new combinations and discords.
This was what was said of another great musician, Montverde,
(10:29):
to whom we owe so much, and such criticisms only
bring discredit upong the writers who failed to see the
value behind the novelty. Sir Hubert Perry, in speaking of
these crudities, says, they do Blow, for the most part,
great credit, for they show that he ventured beyond the
range of mere conventional, and often with the success that
Betoken's genuine musical insight. I have already commented upon his
(10:53):
greatest anthems I beheld and low and I was in
the spirit. They are full of examples of Blow's melodious power,
and this also comes out in some of his secular airs.
Perhaps one of his best is his beautiful song, which
is to be found in Amphion Anglicus, entitled the Self
Banished beginning it is not that I love you less.
(11:14):
The words are by Waller, and the music is worthy
of them. Blow, as described by Sir John Hawkins, was
a very handsome man in his person, and remarkable for
a gravity and decency in his deportment suited to his station.
This worthy musician died in seventeen o eight, aged sixty,
and is buried in Westminster Abbey, near the old entrance
(11:34):
to the organ loft and in close proximity to purcell.
A fine monument is erected near the spot, and a
specimen of his composition, in the form of gloria from
one of his services, is engraved thereupon. This gloria is
said to have been sung at Saint Peter's at Rome.
I remember an interesting matter in connection with this monument.
(11:55):
In my early days at the abbey during Dean Stanley's time,
the Emperor of Brazil paid a visit and was shown
round the abbey by the Dean. The only thing he
specially asked to be shown was doctor Blow's monument. The
Dean told me his Majesty inspected it very closely and
seemed to be reading the music. He probably knew more
about Blow's music than Bernie's history. Notation one. There is
(12:19):
an account preserved in the Bodilian Library of Blow being
paid forty pounds a year for keeping and teaching two boys.
That this was in sixteen eighty five. It shows that
it was usual for boys who voices were gone to
be kept on for tuition. End of Chapter eleven, Doctor
John Blow
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