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Speaker 1 (00:01):
Chapter six 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. Twelve Good Musicians from John
Bull to Henry Purcell by Frederick Bridge, Chapter six, Richard Dering,
(00:27):
approximately fifteen eighty to sixteen thirty. In considering the careers
and works of the first five musicians on my list
of twelve, I have, it is true, been treating of
men whose names are to be found in all musical histories.
But of the next name on my list, I am
able to say, I am on comparatively new ground. There
(00:51):
is nothing so surprising to me as the universal neglect. Nay,
I may even say the word disdain with which musical
historians of any periods have treated the name of Richard Dearing.
In common with most people of my age, I knew
very little about this composer, and certainly in common with
I venture to say, all my contemporaries, I never heard
(01:14):
a note of his music until a few years ago.
The story of my awakening to the real merits of
this admirable composer is simple. Looking over the music in
the chapter library at Westminster, I found, among many fine
collections of madricals, original copies, mostly published in the sixteenth
and early part of the seventeenth centuries, two sets of
(01:37):
Latin motets in five and six parts by Richard Dearen.
They were bound up in covers made out of an
illuminated manuscript. On looking at the bindings, our late Dean
doctor Armitage Robinson, always interested in the library, and also
I may add in my musical researches, found that they
(01:57):
were part of the wedding service of the fourteenth century.
The binding was promptly taken off the during books rebound
and handed on to me. I proceeded to score some
of the first book, published in sixteen seventeen, and had
not done many bars before it was plain I was
indeed about on earth a treasure full of beautiful harmony
(02:20):
and contrapunctual devices, with examples of melodic progressions new and original.
These works were speedily brought to a hearing at my
Gresham lectures, and with as little delay as possible, entered
it with English translations, published and introduced into the abbey services.
(02:40):
Since then, many cathedrals in great churches have used them.
The block choir has performed some of them, and during
fame has I hope been re established. I must say,
before proceeding to give details of during his career, that
nearly one hundred years ago an effort was made by
a musical act amateur to get these motets scored. By
(03:03):
a curious chance, I have come into the possession of
letters which pass between the owners of copies of these
fine things and mister Sale of Westminster Abbey. The owner
was the Reverend Thomas Straitfield, vicar of Charthedge, a well
known Kentish antiquary, and he came into possession, probably at
(03:23):
a sale of some of the old daring books, of
a set of parts of these motets. He applied to
mister Sayle, a very prominent member of the musical profession,
a la vicar of Westminster Abbey and a principal singer
at the ancient concerts, to get these motets scored for him.
A letter from Sale's daughter apologizes for delay and says
(03:47):
her father does not think it will be worthwhile to
go to any great expense, as he has tried some
parts of it. I e. The music of the motets
with some who are used to and admire that ancient
style of music, and they do not form a very
high opinion of it. Cursely enough, a few bars in
score of one of the most beautiful motets was enclosed
(04:09):
with a note from a copy of saying that it
would take much time and be very expensive. So Deering's
motets were laid to rest again for nearly a hundred years.
I may add mister Sale was the music instructor to
Queen Victoria when she was a child. Mister Straitfield's copies
of the sixteen seventeen motets uncut were sold at his
(04:33):
death by auction and fetched four pounds sixteen shillings. The
neglect of Daring is certainly extraordinary. He was, as usual,
absurdly criticized by Doctor Burney, who spoke of his music
as very sober, innocent, somotic, dry and uninteresting. And further,
(04:54):
he was never able to discern in any of his
works a single stroke of genius, either in his melody
or modulation. And Sir Frederick Owsley actually writes of his
style as severe and correct, but very dry. These verdicts, amazement.
They are absolutely untrue. At least as regards Deering's great
(05:16):
works his motets, I question if Bernie or Owsley ever
heard one of them. They may have found their opinion
upon some of his less important works, published by Playford
some thirty or forty years after Dearing's death, which Playford
himself does not vouch for, as being certainly by Dering.
(05:36):
And as regards Dering's fancies, I can hardly believe either
Bernie or Owsley had any real knowledge of them. For one,
which I produced at a university lecture in nineteen twelve
was of a high order of merit. That Dearing was
appreciated at his proper value by his contemporaries is apparent
(05:57):
by the way in which Peacham, in his Complete Gentleman
sixteen twenty two, couples his names with others for a
depth of skill and quickness of concept. Almost the only
bit of information which historians tell us is that Cromwell
was very fond of his music, and that John Kingston,
the organist, with two of his boys, often sang Dearing's
(06:19):
music to the protector. The mention of two boys points
to the two part motets as being the music performed,
not of course to the motets for five or six voices.
Mace in his Music's Monument sixteen seventy six, mentions During's
Glory of Patra and other of his Latin settings. I
(06:42):
must now turn to the personal history of this good musician.
Richard Dering was descended from an ancient family, the Dearings
of the County of Kent. The branch from which Richard
Dearing traces his descent was the one headed by William
Dearing of Petworth, County, Sussex, and his wife Eleanor Dyke.
(07:04):
The Dearing of this sketch was the son of Henry
Dearing of Liss, near Petworth, by the lady Elizabeth Gray.
He died in sixteen thirty. It is stated by Anthony
Wood that Deering was bred up in Italy, where he
obtained the name of a most admirable musician. After his return,
he practiced his faculty for some time in England, where
(07:27):
his name, being highly cried up, became after many entreaties
organists to the English nuns living at Brussels. It is
not easy to discover anything about Deering's Italian life or work.
My friend, the Reverend Doctor Spooner Lillingston, made some inquiries
for me in Italy, and is kind enough to write
(07:48):
as follows. The Earl of Kent's family, of which Deering's
mother was a member, remained Catholic for many years. In
this family half a century before, seemed to have intermarried
with certain of the Italian nobility. Lady Elizabeth Gray does
not appear in any record of the Grays of Kent.
May not Dering's mother have been of Italian extraction, hence
(08:11):
his Catholic religion and Italian training. As to his Italian sojourn,
doctor Spooner Lillingstone continues, there is no record of his
first communion at Saint john Lateran, so probably he did
not go to Italy until about ten years of age,
all such records of first communions made in Italy being
(08:33):
registered at Saint John's Lateran. Doctor Lillingstone also tells us
there is a record of an eight part motet by
Deering having been performed in one of the churches, the
title being Oquam Gloriosa that during studied hard and composed
while in Italy. Seems pretty certain. Judged by an observation
(08:55):
in his dedication of the sixteen seventeen motets, it would
appear that it was in Rome that he wrote them.
In this dedication he speaks of having composed them in
the chief city of the world. I cannot help thinking
that the chief city of the world to Duran the
Catholic was Rome. Almost The first fact of which we
(09:15):
have very certain knowledge in connection with his life in
England is the supplication which he made for the degree
of Bachelor of Music at Oxford in April sixteen ten.
In answer to an inquiry, the keeper of the archives
said that there is a record of Dearing's supplication, and
it is stated that his plea is granted, providing he
(09:38):
shall have composed a work of eight parts for the
next act. Doctor Scott, the learned custodian of our abbey
Munaments for many years, made some inquiries for me on
this matter, and gives the following note, which he had
apparently received from Oxford, supplicateth in like manner Richard Dearn,
(10:00):
a scholar most highly trained to music of Christ Church,
forasmuch as he hath spent ten years in the study
in practice of music, that this may suffice for him
to be admitted to the lectures of the music of Botheus.
The statement by Dearing that he spent ten years in
the study and practice of music, absolutely disposes of the
(10:24):
legend so often repeated that Dearing published a set of
five part motets in Antwerp in fifteen ninety seven. I've
always entirely doubted that this had any foundation. In fact,
I believe it is a misprint for sixteen seventeen, and
it was not likely twenty years would elapse between the
(10:44):
publication of two sets of motets by so prolific a composer.
Ten years makes the date of during studies to begin
in sixteen hundred, so he could not have published in
fifteen ninety seven. I'm glad to be able to correct
this error on the authority of the master himself. It
is very amusing and rather annoying to see how the
(11:07):
musical historians, if copied from one another. The most untrue
statements about Durham, Bernie Hawkins and mister Husk in the
first edition of Groves Dictionary all give fifteen ninety seven
instead of sixteen seventeen, and Bernie and Hawkins say he
was forced to leave England when the troubles of Charles
the First begin. Hawkins says he was organist to Henrietta
(11:31):
Maria until she was compelled to leave England. The fact
is during was dead before all of this. He returned
to England as organist to Henrietta Maria in sixteen twenty
five and died in sixteen thirty. But space would fail
me to point out more of the absurd statements about
this musician. Let me rather now turn to his greatest
(11:54):
contributions to our musical treasures. I leave for a time
further comment upon his work in England and proceed to
consider his magnificent motets. It appears that on the invitation
of the English nuns at Brussels, he proceeded to that
city and became organists to the convent. It was whilst
there that he published, in sixteen seventeen his fine series
(12:18):
of cantitiones sacre for five voices. This was issued from
the press of Peter Felis in Antwerp. There are eighteen motets,
all to Latin words for five voices, and basso continual
for organ I have already spoken of the way I
made acquaintance with these masterpieces. It is very gratifying to
(12:41):
find the increased favor with which they are received and
the frequent performance of them by great choirs. The ignorant
accounts of them which I have quoted, shake one's faith
in the opinion of such writers on other musical works.
The first set of motets was dedicated to a remote
arkable personage, Sir William Stanley, and the preface is so
(13:04):
interesting I feel justified in giving it with the title page.
The original dedication is in Latin, but I give it
in a translation. Concione sacre for five voices with baso
continual for organ by Richard Dearing, Englishman organists to the
venerable English nuns in the Monastery of the Blessed Virgin
(13:27):
Mary at Brussels Antwerp at the House of Peter Philis,
sixteen seventeen. Dedication to Sir William Stanley, Knight, renewed at
home and in military life, counselor at war, to the
most Honorable and Invincible Catholic King, his most worshipful Lord.
(13:49):
For long my music has desired to come forward. She
is not unpolished, for she was born in the first
city of the world. But she is modest, for it
is custom to marry with new men, especially those who
are bashful, not to bring their offspring. However, excellent to
the light, until they find some distinguished man whose approval.
(14:11):
If they win, they need fear neither the abuse of rivals,
nor the criticism of the ignorant. But what patron should
my music choose in preference to your lordship? When permitted
to relax your mind for military cares, you think no delight,
no pleasure greater than music. To music, you give the
(14:31):
chief place after war, and which none surpass you. Therefore,
let my child go forth with you for its patron.
If you are the first to smile upon it as
it takes its first modest steps, you will give it
a wonderful courage. For greater things live, flourish, and conquer.
In war, we long for peace. Peace endeth wars. Music
(14:55):
makes jockhund peace to no no jars. Your most obedient
servant are Derhin. In the second set, published in sixteen eighteen,
Dering claims to have written in the Madrigalian style. It
looks as if he had tried to imitate the madrigals
he had heard, and to adapt some of the phrases
(15:17):
to sacred words. I do not think the second set
is as good as the first, but there is some
very fine things in it, one of the best being
Silence Prevailed in Heaven, a dramatic account of Saint Michael's
War with the Dragon. I have had this printed and
it produces a splendid effect, and hope in time to
(15:37):
restore to life many more of these unknown and really
beautiful masterpieces. I have not space to chronicle all Durham's
musical works, but I must conclude this notice by some
account of his secular music, and more particularly is remarkable
humorous fancy, the Cries of London. This is the third
(15:58):
of these interesting fams fancies which I have had the
opportunity of recovering from oblivion. I have already, in the
case of Wielkes and Gibbons, explained the circumstances attending this recovery.
During's fancy is the most elaborate of the three, and
besides a number of cries which the other musicians admitted,
(16:18):
he is preserved to us some most interesting and charming
tradesman songs, those of the sweep, the blacking Cellar, the
Vendor of Garlic, the rat catcher, and the tooth drawer.
The whole fancy is full of life and shows daring
to be both dramatic and humorous. This work and a
similar one on country Cries, was written before he left
(16:41):
England for Brussels, as the copy in the British Museum
was made sixteen sixteen. There are a few anthems scattered
about various libraries, but as a Catholic, his contributions to
English cathedral music would no doubt be few. Some are
found in Durham Cathedral Life ibrary on the marriage of
(17:02):
Charles the First. He was pointed organist to the Queen
Henrietta Maria on July eleventh, sixteen twenty eight. His name
appears in a list of musicians in ordinary to the King,
and he was evidently a member of the King's private band.
Most historians have stated that he lived to sixteen fifty seven,
(17:23):
but this is just as incorrect as their other statements
concerning during and his music. I've devoted much time to
the elucidation of the history and the reproduction of his work,
and feel in doing this I have helped restore to
his rightful place one of the greatest English musicians of
the seventeenth or indeed of any century. End of Chapter
(17:47):
six
Chapter six 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. Twelve Good Musicians from John
Bull to Henry Purcell by Frederick Bridge, Chapter six, Richard Dering,
(00:27):
approximately fifteen eighty to sixteen thirty. In considering the careers
and works of the first five musicians on my list
of twelve, I have, it is true, been treating of
men whose names are to be found in all musical histories.
But of the next name on my list, I am
able to say, I am on comparatively new ground. There
(00:51):
is nothing so surprising to me as the universal neglect. Nay,
I may even say the word disdain with which musical
historians of any periods have treated the name of Richard Dearing.
In common with most people of my age, I knew
very little about this composer, and certainly in common with
I venture to say, all my contemporaries, I never heard
(01:14):
a note of his music until a few years ago.
The story of my awakening to the real merits of
this admirable composer is simple. Looking over the music in
the chapter library at Westminster, I found, among many fine
collections of madricals, original copies, mostly published in the sixteenth
and early part of the seventeenth centuries, two sets of
(01:37):
Latin motets in five and six parts by Richard Dearen.
They were bound up in covers made out of an
illuminated manuscript. On looking at the bindings, our late Dean
doctor Armitage Robinson, always interested in the library, and also
I may add in my musical researches, found that they
(01:57):
were part of the wedding service of the fourteenth century.
The binding was promptly taken off the during books rebound
and handed on to me. I proceeded to score some
of the first book, published in sixteen seventeen, and had
not done many bars before it was plain I was
indeed about on earth a treasure full of beautiful harmony
(02:20):
and contrapunctual devices, with examples of melodic progressions new and original.
These works were speedily brought to a hearing at my
Gresham lectures, and with as little delay as possible, entered
it with English translations, published and introduced into the abbey services.
(02:40):
Since then, many cathedrals in great churches have used them.
The block choir has performed some of them, and during
fame has I hope been re established. I must say,
before proceeding to give details of during his career, that
nearly one hundred years ago an effort was made by
a musical act amateur to get these motets scored. By
(03:03):
a curious chance, I have come into the possession of
letters which pass between the owners of copies of these
fine things and mister Sale of Westminster Abbey. The owner
was the Reverend Thomas Straitfield, vicar of Charthedge, a well
known Kentish antiquary, and he came into possession, probably at
(03:23):
a sale of some of the old daring books, of
a set of parts of these motets. He applied to
mister Sayle, a very prominent member of the musical profession,
a la vicar of Westminster Abbey and a principal singer
at the ancient concerts, to get these motets scored for him.
A letter from Sale's daughter apologizes for delay and says
(03:47):
her father does not think it will be worthwhile to
go to any great expense, as he has tried some
parts of it. I e. The music of the motets
with some who are used to and admire that ancient
style of music, and they do not form a very
high opinion of it. Cursely enough, a few bars in
score of one of the most beautiful motets was enclosed
(04:09):
with a note from a copy of saying that it
would take much time and be very expensive. So Deering's
motets were laid to rest again for nearly a hundred years.
I may add mister Sale was the music instructor to
Queen Victoria when she was a child. Mister Straitfield's copies
of the sixteen seventeen motets uncut were sold at his
(04:33):
death by auction and fetched four pounds sixteen shillings. The
neglect of Daring is certainly extraordinary. He was, as usual,
absurdly criticized by Doctor Burney, who spoke of his music
as very sober, innocent, somotic, dry and uninteresting. And further,
(04:54):
he was never able to discern in any of his
works a single stroke of genius, either in his melody
or modulation. And Sir Frederick Owsley actually writes of his
style as severe and correct, but very dry. These verdicts, amazement.
They are absolutely untrue. At least as regards Deering's great
(05:16):
works his motets, I question if Bernie or Owsley ever
heard one of them. They may have found their opinion
upon some of his less important works, published by Playford
some thirty or forty years after Dearing's death, which Playford
himself does not vouch for, as being certainly by Dering.
(05:36):
And as regards Dering's fancies, I can hardly believe either
Bernie or Owsley had any real knowledge of them. For one,
which I produced at a university lecture in nineteen twelve
was of a high order of merit. That Dearing was
appreciated at his proper value by his contemporaries is apparent
(05:57):
by the way in which Peacham, in his Complete Gentleman
sixteen twenty two, couples his names with others for a
depth of skill and quickness of concept. Almost the only
bit of information which historians tell us is that Cromwell
was very fond of his music, and that John Kingston,
the organist, with two of his boys, often sang Dearing's
(06:19):
music to the protector. The mention of two boys points
to the two part motets as being the music performed,
not of course to the motets for five or six voices.
Mace in his Music's Monument sixteen seventy six, mentions During's
Glory of Patra and other of his Latin settings. I
(06:42):
must now turn to the personal history of this good musician.
Richard Dering was descended from an ancient family, the Dearings
of the County of Kent. The branch from which Richard
Dearing traces his descent was the one headed by William
Dearing of Petworth, County, Sussex, and his wife Eleanor Dyke.
(07:04):
The Dearing of this sketch was the son of Henry
Dearing of Liss, near Petworth, by the lady Elizabeth Gray.
He died in sixteen thirty. It is stated by Anthony
Wood that Deering was bred up in Italy, where he
obtained the name of a most admirable musician. After his return,
he practiced his faculty for some time in England, where
(07:27):
his name, being highly cried up, became after many entreaties
organists to the English nuns living at Brussels. It is
not easy to discover anything about Deering's Italian life or work.
My friend, the Reverend Doctor Spooner Lillingston, made some inquiries
for me in Italy, and is kind enough to write
(07:48):
as follows. The Earl of Kent's family, of which Deering's
mother was a member, remained Catholic for many years. In
this family half a century before, seemed to have intermarried
with certain of the Italian nobility. Lady Elizabeth Gray does
not appear in any record of the Grays of Kent.
May not Dering's mother have been of Italian extraction, hence
(08:11):
his Catholic religion and Italian training. As to his Italian sojourn,
doctor Spooner Lillingstone continues, there is no record of his
first communion at Saint john Lateran, so probably he did
not go to Italy until about ten years of age,
all such records of first communions made in Italy being
(08:33):
registered at Saint John's Lateran. Doctor Lillingstone also tells us
there is a record of an eight part motet by
Deering having been performed in one of the churches, the
title being Oquam Gloriosa that during studied hard and composed
while in Italy. Seems pretty certain. Judged by an observation
(08:55):
in his dedication of the sixteen seventeen motets, it would
appear that it was in Rome that he wrote them.
In this dedication he speaks of having composed them in
the chief city of the world. I cannot help thinking
that the chief city of the world to Duran the
Catholic was Rome. Almost The first fact of which we
(09:15):
have very certain knowledge in connection with his life in
England is the supplication which he made for the degree
of Bachelor of Music at Oxford in April sixteen ten.
In answer to an inquiry, the keeper of the archives
said that there is a record of Dearing's supplication, and
it is stated that his plea is granted, providing he
(09:38):
shall have composed a work of eight parts for the
next act. Doctor Scott, the learned custodian of our abbey
Munaments for many years, made some inquiries for me on
this matter, and gives the following note, which he had
apparently received from Oxford, supplicateth in like manner Richard Dearn,
(10:00):
a scholar most highly trained to music of Christ Church,
forasmuch as he hath spent ten years in the study
in practice of music, that this may suffice for him
to be admitted to the lectures of the music of Botheus.
The statement by Dearing that he spent ten years in
the study and practice of music, absolutely disposes of the
(10:24):
legend so often repeated that Dearing published a set of
five part motets in Antwerp in fifteen ninety seven. I've
always entirely doubted that this had any foundation. In fact,
I believe it is a misprint for sixteen seventeen, and
it was not likely twenty years would elapse between the
(10:44):
publication of two sets of motets by so prolific a composer.
Ten years makes the date of during studies to begin
in sixteen hundred, so he could not have published in
fifteen ninety seven. I'm glad to be able to correct
this error on the authority of the master himself. It
is very amusing and rather annoying to see how the
(11:07):
musical historians, if copied from one another. The most untrue
statements about Durham, Bernie Hawkins and mister Husk in the
first edition of Groves Dictionary all give fifteen ninety seven
instead of sixteen seventeen, and Bernie and Hawkins say he
was forced to leave England when the troubles of Charles
the First begin. Hawkins says he was organist to Henrietta
(11:31):
Maria until she was compelled to leave England. The fact
is during was dead before all of this. He returned
to England as organist to Henrietta Maria in sixteen twenty
five and died in sixteen thirty. But space would fail
me to point out more of the absurd statements about
this musician. Let me rather now turn to his greatest
(11:54):
contributions to our musical treasures. I leave for a time
further comment upon his work in England and proceed to
consider his magnificent motets. It appears that on the invitation
of the English nuns at Brussels, he proceeded to that
city and became organists to the convent. It was whilst
there that he published, in sixteen seventeen his fine series
(12:18):
of cantitiones sacre for five voices. This was issued from
the press of Peter Felis in Antwerp. There are eighteen motets,
all to Latin words for five voices, and basso continual
for organ I have already spoken of the way I
made acquaintance with these masterpieces. It is very gratifying to
(12:41):
find the increased favor with which they are received and
the frequent performance of them by great choirs. The ignorant
accounts of them which I have quoted, shake one's faith
in the opinion of such writers on other musical works.
The first set of motets was dedicated to a remote
arkable personage, Sir William Stanley, and the preface is so
(13:04):
interesting I feel justified in giving it with the title page.
The original dedication is in Latin, but I give it
in a translation. Concione sacre for five voices with baso
continual for organ by Richard Dearing, Englishman organists to the
venerable English nuns in the Monastery of the Blessed Virgin
(13:27):
Mary at Brussels Antwerp at the House of Peter Philis,
sixteen seventeen. Dedication to Sir William Stanley, Knight, renewed at
home and in military life, counselor at war, to the
most Honorable and Invincible Catholic King, his most worshipful Lord.
(13:49):
For long my music has desired to come forward. She
is not unpolished, for she was born in the first
city of the world. But she is modest, for it
is custom to marry with new men, especially those who
are bashful, not to bring their offspring. However, excellent to
the light, until they find some distinguished man whose approval.
(14:11):
If they win, they need fear neither the abuse of rivals,
nor the criticism of the ignorant. But what patron should
my music choose in preference to your lordship? When permitted
to relax your mind for military cares, you think no delight,
no pleasure greater than music. To music, you give the
(14:31):
chief place after war, and which none surpass you. Therefore,
let my child go forth with you for its patron.
If you are the first to smile upon it as
it takes its first modest steps, you will give it
a wonderful courage. For greater things live, flourish, and conquer.
In war, we long for peace. Peace endeth wars. Music
(14:55):
makes jockhund peace to no no jars. Your most obedient
servant are Derhin. In the second set, published in sixteen eighteen,
Dering claims to have written in the Madrigalian style. It
looks as if he had tried to imitate the madrigals
he had heard, and to adapt some of the phrases
(15:17):
to sacred words. I do not think the second set
is as good as the first, but there is some
very fine things in it, one of the best being
Silence Prevailed in Heaven, a dramatic account of Saint Michael's
War with the Dragon. I have had this printed and
it produces a splendid effect, and hope in time to
(15:37):
restore to life many more of these unknown and really
beautiful masterpieces. I have not space to chronicle all Durham's
musical works, but I must conclude this notice by some
account of his secular music, and more particularly is remarkable
humorous fancy, the Cries of London. This is the third
(15:58):
of these interesting fams fancies which I have had the
opportunity of recovering from oblivion. I have already, in the
case of Wielkes and Gibbons, explained the circumstances attending this recovery.
During's fancy is the most elaborate of the three, and
besides a number of cries which the other musicians admitted,
(16:18):
he is preserved to us some most interesting and charming
tradesman songs, those of the sweep, the blacking Cellar, the
Vendor of Garlic, the rat catcher, and the tooth drawer.
The whole fancy is full of life and shows daring
to be both dramatic and humorous. This work and a
similar one on country Cries, was written before he left
(16:41):
England for Brussels, as the copy in the British Museum
was made sixteen sixteen. There are a few anthems scattered
about various libraries, but as a Catholic, his contributions to
English cathedral music would no doubt be few. Some are
found in Durham Cathedral Life ibrary on the marriage of
(17:02):
Charles the First. He was pointed organist to the Queen
Henrietta Maria on July eleventh, sixteen twenty eight. His name
appears in a list of musicians in ordinary to the King,
and he was evidently a member of the King's private band.
Most historians have stated that he lived to sixteen fifty seven,
(17:23):
but this is just as incorrect as their other statements
concerning during and his music. I've devoted much time to
the elucidation of the history and the reproduction of his work,
and feel in doing this I have helped restore to
his rightful place one of the greatest English musicians of
the seventeenth or indeed of any century. End of Chapter
(17:47):
six
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