SAMUEL PEPYS LOVER OF MUSIQUE &amuiL UepY ojt&r or the w/rrp^nutiorv )6l6 a/n^ 168^ Trinity House, London SAMUEL PEPYS LOVER OF MUSIQUE SIR FREDERICK BRIDGE, M.V.O., Mus. Doc. KING EDWARD PROFESSOR OF MUSIC IN THE UNIVERSITY OF LONDON ; ORGANIST OF WESTMINSTER ABBEY *' JHusique is the thing of the ivorld that I love most. " — Diary, July 30, 1666. ** Musique, in ivhich my utmost luxury still lies^ — Letter o/" iVoT/. 22, 1674. LONDON SMITH, ELDER, &- CO., 15 WATERLOO PLACE 1903 [.All rights reserved^ Priuted by Ballantyne, Hakson <5^ Co At the Ballantyne Press. ML ANTA BARJARA COLLKHF. rii-PA COLLEGE LILRARY TO THE MEMBERS OF THE PEPTS CLUB PREFACE The following pages are based upon materials which have long been accumu- lating. Last January I put some of this matter into shape for three lectures delivered at the Royal Institution, and it occurred to me that as this year is the bicentenary of Pepys' death, it might be interesting to give more permanent shape to a sketch of the various points at which he touched the music of his time. Pepys was a many-sided man, and here only one side of him is treated, though that not the least interesting nor the least dear to himself. I feel, also, that to view him from this standpoint is a good corrective to the ordinary estimate of him as only too true a representative of his age. For valuable assistance in planning out PREFACE the book and preparing it for the press, I am much indebted to my son, Mr. R. T. Bridge, of Charterhouse. I have quoted considerably from the complete edition of the Diary, which has laid all students of Pepys under a heavy obligation to Mr. Wheatley, and I must express my thanks to the authorities of Magdalen College, Cambridge, for allowing me to inspect the interesting contents of the Pepysian library, and to make a copy of " Beauty Retire." Lastly, I have to thank Mr. Arthur Hill, of New Bond Street, for drawing my atten- tion to many interesting entries in the State Papers. J. F. B. The Cloisters, Westminster Abbey. The Author and Publishers desire to acknow- ledge the courtesy of the Corporation of Trinity House in allowing the use of their Plate of the Portrait of Samuel Pepys. CONTENTS CHAP. PAGE I. A Musical Enthusiast . . . i 11. Some Musical Contemporaries . 13 " The Blacksmith " or " Green- sleeves" 16 Bransle, or Brawl • • • 33 " Cuckolds all awry " . . -34 III. More Musical Contemporaries 38 IV. Pepys as Vocalist and Singing- Master 62 V, Pepys on Instruments, Church Music, &c. . . . -75 " Hail to the Myrtill Shades " . 86 Facsimile of " Hail to the Myr- till Shades" from Greeting's "Flagelet Book" ... 86 VI. Pepys as Theorist and Composer . 95 Index 123 APPENDIX "Beauty Retire," Song by S. Pepys " Being in many nvays a very ordinary person^ he has yet placed himself before the public eye ivith such a fulness and such an intimacy of detail^ as might he envied by a genius like Montaigne. Not then for his oivn sake only, but as a character in a unique position, endoived with a unique talent, and shedding a unique light upon the lives of the mass of mankind, he is surely TV or thy of prolonged and patient study. ^^ R. L. Stevenson, Men and Books. SAMUEL PEPYS LOVER OF MUSIQUE CHAPTER I A MUSICAL ENTHUSIAST " MusiouE is the thing of the world that I love most." This is how Samuel Pepys ex- presses his sentiments on the famous occasion when he had been singing with his wife and her maid, Mercer, in the garden, and when, as he tells us, " coming in, I find my wife plainly dissatisfied with me, that I can spend so much time with Mercer, teaching her to sing, and could never take the pains with her. Which I acknowledge ; but it is because that the girl do take musique mighty readily, and she do not, and musique is the thing of the world that I love most." SAMUEL PEPYS The interest with which students of history have perused the pages of Pepys may certainly be imitated by all lovers of music. The period of the Diary and of the later life of Pepys is one in which the music of England made a great advance. For one thing it embraced the life of our greatest composer, Henry Purcell, with his wonderful activity and great achievements in opera and in cathe- dral and chamber music. We should expect to find in the writings of the observant diarist much interesting information concerning the musical life and art of his time, and in this expectation we shall not be disappointed. Not only in the pages of the immortal Diary, but fortunately in the letters and records of the thirty-three years which elapsed between the close of the Diary and the death of the diarist (i 669-1 703), music looms very large. It is "still his utmost luxury" (1674), and at a much later time he writes : " Music was never of more use to me than it is now." But this love of music was by no means the blind admiration of one who knows little about it. It will be found that besides LOVER OF MUSIQUE enthusiasm Pepys possessed a fair knowledge of music to which he was constantly adding, and he had undoubtedly a very acute musical ear. This is proved by an account he gives us of an incident occurring at a dinner at Clothworkers' Hall : " Our entertainment very good," he says, "a brave Hall, good company, and very good music, where among other things I was pleased that I could find out a man by his voice, whom I had never seen before, to be the one that sang behind the curtaine formerly at Sir W. Davenent's Opera." As the opera alluded to was per- formed probably three or four years before this entry, this was something of a feat. That he remembered the tone of a man's voice whom he had never seen and that he recognised the singer by it, is good evidence of Pepys' musical ability. Besides this natural ability, Pepys pos- sessed good judgment and, on the whole, a fairly unbiassed mind. He knew well the leading musicians of the day, he played various instruments, he studied singing, he attended the services at the Chapel Royal, at 3 SAMUEL PEPYS St. Paul's, at Westminster (on one occasion he actually sang in the choir at the Abbey !), and at Windsor, making acute and often amusing comments upon the various choirs and organists. He purchased and, what was more, perused the best theoretical works of the day, both English and foreign, and he tried his hand at composition with very fair success in the case of his often quoted song, " Beauty Retire." Almost every page of the Diary bears wit- ness to his genuine love of music. He sings through a whole song by Lawes before he goes to church ; and when he goes a journey he carries his beloved pipe — not a tobacco pipe, but a flageolet — in his pocket. Even on such an errand as that of escorting King Charles II. back to his kingdom — for which duty Pepys, with others, journeyed to The Hague — he carried his flageolet with him, and tells us the following incident which took place on his landing in Holland : " The rest of the company got a coach by them- selves ; Mr. Creed and I went in the fore part of a coach wherein were two very pretty 4 LOVER OF MUSIQUE ladies, very fashionable, and with black patches, who very merrily sang all the way, and that very well, and were very free to kiss the two blades that were with them. I took out my flageolette and piped, but in piping I dropped my rapier-stick ; but when I came to the Hague, I sent my boy back again for it, and he found it, for which I did give him 6d., but some horses had gone over it and broke the scabbard." It is of course impossible to quote all the musical allusions made by Pepys ; he is so observant that he puts down the most minute points, and nothing, however small in detail or simple in performance, escapes his ear. Thus, in one place he complains of the position of the band in the theatre, " sound- ing under the very stage, there is no hearing of the basses at all, nor very well of the trebles." This is the criticism of a man who evidently discovered a weak spot in the musical arrangements, and was able to define it. Yet on the very next page he writes with equal interest and enthusiasm of his blackbird, which woke him up at four in 5 SAMUEL PEPYS the morning, " and whistles as well as ever I heard any." Not satisfied with learning music him- self, Pepys was determined that those about him should also be musicians ; and great pains he took to carry out his wishes. He began with his wife, and early in the Diary we find the entry: "Some time I spent this morning beginning to teach my wife some scale in music, and found her apt beyond imagination." But alas ! poor Mrs. Pepys did not always get such praise from her husband ; and there is a sad entry later on which ought to be read while this praise of her early efforts is fresh in the mind : " Be- fore dinner making my wife to sing. Poor wretch ! her ear is so bad that it made me angry, till the poor wretch cried to see me so vexed at her, that I think I shall not dis- courage her so much again, but will endea- vour to make her understand sounds and do her good that way." Even his wife, however, shone sometimes by comparison with worse singers. Thus we read in a famous passage : *' But, Lord, how did I persuade myself to LOVER OF MUSIQUE ask Betty Turner to sing ? To see what a beast she is for singing — not one single note in tune — so that but for the experiment I would not for 40s. hear her sing again, worse than my wife a thousand times, so that it do a little reconcile me to her." Pepys had a great idea of making Mrs. Pepys musical, both for his own sake and for her " encouragement." His sudden resolutions must have often taken Mrs. Pepys somewhat aback. Witness his de- sire to make her learn a wind instrument. " To the King's House to see ' the Virgin Martyr,' the first time it hath been acted a great while, and it is mighty pleasant ; not that the play is worth much, but it is finely acted by Becke Marshall. But that which did please me beyond anything in the whole world was the wind-musique when the angel comes down, which is so sweet that it ravished me, and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have for- merly been when in love with my wife ; that neither then, nor all the evening SAMUEL PEPYS going home, and at home, I was able to think of any thing, but remained all night transported, so as I could not believe that ever any music hath that real command over the soul of a man as this did upon me ; and makes me resolve to practise wind-musique, and to make my wife do the like." The " wind-musique " practised was the flageolet, for this instrument is mentioned very early in connection with Mrs. Pepys' musical studies. With regard to her singing-lessons, *' I come home," says Pepys, " and find Mr. Goodgroome, my wife's singing-master, and there I did soundly rattle him for neglecting her so much as he hath done — she not having learned three songs these three months and more." Another singing-master was engaged to teach her songs at the fixed price of los. a song. She mastered the flageolet, for Pepys writes that he played on it with his wife, "which she now does very prettily," and eventually that " she do outdo therein whatever 1 expected of her." Sometimes, however, Pepys rather grudged the money LOVER OF MUSIQUE that he paid for music ; " long with Mr. Berkenshaw in the morning at my musique practice, finishing my song ' Gaze not on Swans/ which pleases me well, and I did give him £^ for this month or five weeks that he hath taught me, which is a great deal of money and troubled me to part with it." This Berkenshaw was the author of certain rules of composition which he evi- dently imparted to Pepys, who writes : " Up and while I staid for the barber, tried to compose a duo of Counterpoint ; and I think it will do very well, it being by Mr. Berken- shaw's rule." This rule was also known to Evelyn, who in the previous year records a visit " to London — a concert of excellent musicians, especially one Mr. Berkenshaw, that rare artist who invented a mathematical way of composure very extraordinary, true as to the exact rules of art, but without much harmonic." The Diary, too, is full of allusions to the musical powers of Pepys' friends. They, no more than his wife, escaped criticism. On one occasion he heard a Mr. Pickering be- 9 SAMUEL PEPYS ginning to play a bass part upon the viall, and he '' did it so like a fool that I was ashamed of him." A very different report is given of Mr. North (brother of the well- known Roger North), who was on board ship with Pepys when they went to escort the King from The Hague ; "he seems to be a fine gentleman, and at night did play his part exceeding well at first sight." So, too, the earliest musical allusions in the Diary refer to gatherings with friends at taverns. At the Half-Moon Pepys " found the Captain and Mrs. Billingsby, and New- man a barber, where we were very merry, and had the young man who plays so well upon the Welsh Harp. Billingsby paid for all." Again, at the Green Dragon on Lambeth Hill he " ventured with good success upon things at first sight, and after that played upon my flageolet." It is interesting to note that the diarist at one point endeavours to throw off somewhat the great attraction which music had for him. He feared it would interfere with his work, and there are two entries which LOVER OF MUSIQUE show a spirit of mild asceticism not without parallel in his famous vows against the theatre and wine. In February 1663 he writes : " I played also, which I have not done this long time before upon any instrument, and at last broke up, and I to my office a little while, being fearful of being too much taken with musique, for fear of returning to my old dotage thereon, and so neglect my business as I used to do." And again in April : " This morning Mr. Hunt, the instrument maker, brought me home a Base Viale to see whether I like it, which I do not very well ; besides, I am under a doubt whether I had best buy one yet or no because of spoiling my present mind and love of busi- ness." This frame of mind was not very lasting, for exactly a week after this entry we find he spent " all the afternoon fiddling upon my viallin (which I have not done for many a day)." The continuation of this entry perhaps explains his return to his musical love, for he tells us that he fiddled while Ashwell (Mrs. Pepys' maid, who was very musical) '* danced above in my upper II SAMUEL PEPYS best chamber, which is a rare room for music." There seems to have been no more thought of giving up music ; on the con- trary, he teaches Ashwell the ground of time and other things on the tryangle,^ and he adversely criticises the playing of Mrs. Turner's daughter, presumably sister to the singer who tried him so much. " But, Lord," he says, " it was enough to make any man sick to hear her — yet I was forced to commend her highly." Even in those days apparently criticism was not always candid. ^ Probably a triangular spinet, not the familiar instru- ment of to-day. 12 CHAPTER II SOME MUSICAL CONTEMPORARIES As was natural, Pepys knew many of the leading musicians of his time. Of these the earliest mentioned in the Diary are Matthew Lock and Purcell. This latter was the father of the much more famous Henry Purcell, who alas ! is not mentioned in the Diary, nor, so far as can yet be ascertained, in any of Pepys' writings. But the younger Purcell was but eleven years of age when the Diary closed, and had not as yet made any figure in the musical world. It is possible, and indeed probable, that Pepys was brought into contact in later years with Henry Purcell's elder brother. In the Captain Purcell, whom he met at Tangier, we may well see the Lieut.-Colonel Purcell who served under Rooke at the taking of Gibraltar, and under the Prince of^Hesse 13 SAMUEL PEPYS at its memorable defence, and who is buried in the chancel of Wytham Church, near Oxford. The fact also that a copy of PurcelFs Sonatas, published by subscription in 1683, is in the Pepysian library, shows that Pepys appreciated the genius who was then organist of the Abbey. Indeed, it is impos- sible to doubt that he must have been a friend of Purcell, seeing that he knew his father, the elder Purcell, and was on inti- mate terms with so many of the musicians of Purcell's youth. With Matthew Lock, then, and the elder Purcell, described as " Master of Musick," Mr. Pepys went to the Coffee House, into a room next the water, and had variety of brave Italian and Spanish songs, and a canon for eight voices which Mr. Lock had lately made on these words, " Domine salvum fac Regem " — an admirable thing — says our enthusiastic critic. Lock was evidently preparing to welcome the restored monarchy, for Charles II. landed within three months, and Lock eventually became composer to the King, some of his music for " sagbutts and cornets " 14 LOVER OF MUSIQUE being played in the royal progress from the Tower to Whitehall on the day before the Coronation. The diarist elsewhere refers to Lock's instrumental music as follows : "After that W. Howe and I went to play two trebles in the great cabin below, which my Lord hearing, after supper he called for our instruments, and played a set of Lock's, two trebles and a base, and that being done, he fell to singing of a song made upon the Rump, with which he pleased himself well, to the tune of 'The Blacksmith.'" (This tune was also known by the name of " Green Sleeves," and is referred to in Merry Wives of Windsor^ ii. i : "I would have sworn his disposition would have gone to the truth of his words ; but they do no more adhere and keep place together, than the Hundredth Psalm to the tune of * Green Sleeves.' ") Lock seems to have been somewhat of a Progressive in music. Indeed Roger North, the author of the famous Autobiography, says of him, " he sacrificed the old style for the modes of his time," and complains of " his theatricall way." This is borne out by 15 ffi h Q Q § 13 CO 1^ Q < o < H-J C/5 pq > W W w ffi CO h "TO frr» N.JX TO nm iLM «.J5. ™ ffi f^ il 'Wi^ 14^ nnu 1 )f null ilik QLil "W» I ^ k Ft Tl 1 T i jf 1 ~T 'T i - ^ -]- 1 1 1 M 1 1 1 1 1. ^ ^ ] %i. • "1* J- ^ IL_ •1 1 1 >H "t-t ^ ^- liL (^ r 1 ^ ^ 1 '^ ri »-*!» h:1 n-r T fT ^ (fl ^ < c/D -T| ~^- 2 'T1 p_-i -- "^ O 1 ^ JL L Oil !.__ ^-T t\ H- V ii 1 ct 3q c: 1 « "fl^ %'^ V'. L 43 1 I • 4_ I m K- "W^J) frJ itt* % ITl^ fTT^i ^ r^ ti:»L ^11 ILJJ ii. tiU 34 LOVER OF MUSIQUE flung off the practice of Fancies and played only fiddlers' tunes." Students of English musical history will here recognise the course which music took under Charles II. We have seen in connection with Pelham Hum- frey that the King " could not endure " the sedate old English style of music, sacred or secular. He established a band of twenty- four violins, ordered symphonies and inter- ludes to be played in the anthems, and did all he could to bring in the French style. No doubt Lord Sandwich had followed the fashion of the Court ; but here we find him " flinging off fiddlers' tunes " and re- turning to the old English Fancy. The Fancy, as a rule, consisted of contrapuntal imitative music, abounding in device and dull in style. Fancies were the usual form of instrumental chamber-music at this time, and were written by all the eminent masters, from Orlando Gibbons to Lock, and even Henry Purcell. They existed before Fugue was endowed with form, and show our com- posers somewhat heavily feeling their way to the Trios of Purcell and Corelli, and so lead- 35 SAMUEL PEPYS ing on to the first real landmark of modern chamber music — the string quartette.^ Gibbons was evidently in favour with Charles 11. , for in the State Papers there exists a letter written on July 2, 1663, directing the University of Oxford to confer on him the degree of Doctor of Music. The letter runs as follows : — To our trusty and welheloved the Vice-Chancellor^ Doctors^ Proctors and Masters of the Univer- sity of Oxford, Trusty and welbeloved, wee greete you well. Whereas the bearer, Christopher Gibbons, one of the organists of our Chappell Royall, hath from his youth served our Royall father and our selfe, And hath soe well improved himselfe in musique as well in our owne judgement as the judgement of all men well skilled in that science as that he may worthily receave your honer and degree of Doctor ^ In Mr. Wheatley's very complete edition these Fancies are erroneously described as a kind of "light airs," and it is stated that Dr. Hueffer, the late accom- plished critic of the Thnes^ was "inclined to connect them with the Fantasia." The context, however, shows that they had a graver character than " light airs," and indeed they are a definite species of composition belong- ing to this period, and perfectly well understood. 36 LOVER OF MUSIQUE therein, wee in consideracon of his merritt and fittness thereunto, have thought fitt by these our Letters to recommend him unto you. And to signify our gracious pleasure to be, that he be forthwith admitted and created by you. Doctor in Musique. He performing his exercises and paying all his due fees, any statute or custome whatsoever be contrary notwithstanding.^ It is interesting to find that in the case of his "honorary " degree the recipient had yet to write and have performed a musical com- position or exercise, and pay the fees. It may be mentioned that Gibbons served the King's *' Royal Father " not only as a musician, but, with his brother musicians, Lawes and Cooke, as a soldier. During the Civil War, we are told (in the State Papers), he went into one of the garrisons. His portrait is in the Examination Schools at Oxford. ^ State Papers, Domestic, Charles II., vol. 76, No. 13. 37 CHAPTER III MORE MUSICAL CONTEMPORARIES The composers mentioned in the previous chapter were most distinguished for their vocal writings. In this chapter we include some names more intimately connected with the development of instrumental music and generally in connection with the King's Band. John Banister is another well - known musician whom the diarist mentions, and indeed many of the flageolet tunes in Greeting's Book, from which Mr. and Mrs. Pepys studied this favourite instrument, were composed by Banister, who himself was a celebrated flageolet player. In conjunction with Pelham Humfrey he set music to the Tempest^ and this music Pepys refers to when he says, " I did get him to prick me down the notes of the Echo in the Tempest^ which pleases me mightily." 38 LOVER OF MUSIQUE In 1663 he appears to have been appointed leader of the King's band of twenty-four violins on the death of Baltzar, and to have received a further commission to organise a select band of twelve from these violins to play before the King whenever music was required. The warrant for this still exists among the State Papers, and from its intrinsic interest may well be quoted in full. Whereas wee have beene pleased to appoint our welbeloved servant John Banister to make choice of twelve of our fower and twenty violins, to be a select Band to wait on us, wheresoever there shall be occasion for musique, And that he doe give his attendance on us constantly to receive our com- mands, and to see that our service be performed by the said twelve persons ; And in consideracon of their extraordinary service done and to be done unto us, and the smallenesse of their wages already settled. Wee are willing to augment the same. Our will and pleasure therefore is, That you prepare a Warrant fitt for our royall signature for the payment of six hundred poundes per annum to passe by our Letters of Privy Seale unto the said John Banister, to be by him received at the receipt of our Exchequer for himselfe and twelve of our said violins. And upon receipt thereof to be 39 SAMUEL PEPYS equally divided to such persons, as he hath already made choice of, or shall from time to time for our said service. And the first payment of the said six hundred poundes per annum to commence from the five and twentieth of March, which was in the yeare of Our Lord one thousand, six hundred sixty and two. And the arreares that have accrewed and growne due since the said five and twentieth of March 1662 to the fower and twentieth day of June last past to be paid off. And from thenceforth to be paid quarterly by equall porcons, out of the Receipt of our Exchequer during our pleasure. And our further will and pleasure is. That if any of our said Band of Violins nominated, or to be nominated, by the said John Banister, Master of our said Band, shall either neglect practices or per- formance before us in Consort upon his summons, or mix in any musique whatsoever otherwise than for our particular service in our said Band, without the knowledge and allowance of the said John Banister, That upon his complaint to the Lord Chamberlaine of our houshold, such person or persons so offending shall be discharged from this our private musicke and such others of our other twelve violins taken into their roomes for the performance of this our said particular service, as our said Lord Chamberlaine shall thinke fitt and allow of upon the recommendacon of the said John Banister. And for your soe doeing this shall be 40 LOVER OF MUSIQUE your Warrant. Given at our Court at Whitehall this ... of July, In the fifteenth yeare of our Reigne.^ To the Gierke of our Signet attending. This post Banister held for about three years. In February 1667 Pepys tells that he was much put out by the arrival of a Frenchman, named Grabu, to be Master of the King's Music. " Here (at the Duke of York's) they talk also how the King's viallin Bannister is mad that the King hath a Frenchman come to be chief of some part of the King's Musique, at which the Duke of York made great mirth." The arrival of this Frenchman was a serious matter for Banister, for from some cause or other Grabu supplanted him as the head of this select band of twelve. Even before this appointment was conferred upon Grabu, he seems to have had authority, as the warrant for his new appointment runs thus : *' Our 1 State Papers, Domestic, Charles II., July 1663, vol. 77, No. 40. 41 \ SAMUEL PEPYS will, etc., that you give order for the swear- ing Grabu, our Director in Ordinary^ as master of our English Chamber Musicke." This is dated November 12, 1666, two or three months before the above-quoted re- mark of Pepys. It has been pretty generally stated that Banister owed his dismissal to an injudicious observation made in the hearing of the King, " that he preferred English violins to the French." This may have been one reason, but it would seem that Banister's conduct in financial matters was not above reproach, and may have had something to do with his removal from office. The following amusing petition of the Band gives us much insight into his failings in this respect. Wee the band of violins now under the direc- tion of Moos'". Grabu, Master of his Majesties musique, doe humbly represent to your Lordshipp — That it was his Majesties will and pleasure to give unto his Band of Violins late under the direc- tion of John Banister 600/. per annum for doeing extraordinary service. This John Banister under- takes it for himselfe and demanded of the Com- 42 LOVER OF MUSIQUE pany 20/. a peice, or all the arreares that was due to them from the Queenes comeing in untill Michaelmas 1663, which, if we refused, hee swore wee should be turned out of the Band, for said hee, I am to carry upp the names to morrow morning to the Councell Chamber, and they that will not doe this, their names shall be left out, and others put in : But instead of putting in ours or others into a Privy Seale to receive the said 600/., hee onely put in his owne name unknowne to us, soe wee consented to give him all that was due to us before that time, for 20/. a peice could not be raysed by us and in doeing this hee did promise that wee should have 10/. a peice every quarter of him, whether he did receive it or not, and wee should begin from Michaelmas 1663, but unknowne to us hee had gott it granted a yeare and an halfe before, and since this Agreement he hath received 950/. for this Augmentation, of which said 950/. some have received of him 20/., some 10/., and one but 7/. los. and others more. And in 1663 wee played to the Queenes dancing which was her Birth Day, and wee presumed to speake to the Lord Chesterfield to speake for our accustomed fee, and the Lord Chesterfield spake to the Queene for us, but the Queens Treasurer being by, told the Queene, we had received great summes of money already, about 230/., which Mr. Banister keepes from us, as his owne right by giving him 43 SAMUEL PEPYS our arreares, and setting our hands to it, but it was that hee should performe his bargaine with us. The Queene hearing hee had such a summe of money was very angry, but wee never did speake before, and if we had not spoke then, wee never had knowne of the money, for Mr. Banister would not suffer us to looke after any money that is due to us, hee sayes, how dare wee doe it. That the said Banister received 50/. from the Queenes Majestie at the Bath, and paid to those that attended only 5/. each, keeping 20/. for himselfe. Also a person of honour giving us 10/. in gould for attendance, the said Banister kept fower peeces for himselfe. And 20/. he received from the Duke of Buckingham for us, of which wee never had one penny, besides severall other things of that nature. And this last birthday of the Queenes he gets the fee of 10/. into his hands, and gives money to some, and to others not a penny, neither did hee waite on the Queene himselfe. Likewise Mr. Banister hath kept sometimes five or six of us out of wayting, according as hee is pleased or dis- pleased, and three of us he hath turned out of his Band, his Majesties pleasure not being knowne therein, nor the Lord Chamberlaines, by this meanes, hee thinkes to put all our arreares in his owne purse, whereby the King''s service is abused, and his poore servants utterly ruyned. Wee there- fore most humbly desire that your Lordshipp would 44 LOVER OF MUSIQUE be pleased to order the Caveat to be taken off, that soe the Scale may passe. And if any objeccon be made by the said Banister, wee are ready and will- ing humbly to submitt to what your Lordshipp shall please to order therein.^ At the same time Banister seems to have sent in a counter-petition to the King claim- ing certain arrears, for we have a paper in which Charles directs an inquiry to be held and a report to be made to him. In the meantime the salaries and arrears for the special band are not to be paid to Grabu. Finally, the report was unfavourable to Banister, and it is directed that the salaries and arrears shall be duly paid to Grabu as Master of the Music, and the Lord Cham- berlain adds that he has determined to " see it justly distributed hereafter." The wording of this report shows that Grabu was already Master of the Music, and that these matters referred to his new appointment as head of the select band in place of Banister. ^ State Papers, Domestic, Charles II., March 29, 1667, vol. 195, No. 62. 4S SAMUEL PEPYS My Lord, — The grant of the Privy Seale which Bannester had for a particular Band of Violins, was by his Majesties especiall comand given to Mons. Grabu, Master of the Musick ; and a stop was made, upon Bannesters petition, that hee might receave the arreares due in the Exchequer. But the whole Band of Violins complayning severall times that Banister had wronged them in their share and dividend ; I did thinke it fitt upon hearing all parties and by the consent of all, to order that the Master of the Musick should receave it, and that I would see it justly distributed here- after : wherewith I acquainted his Majestic, and his Majestic was well pleased therewith and comanded that the Master of the Musick should receave it, and should have his Privy Seale pass as it is drawne. Thus I rest. Your LoPPs humble servant, E. Manchester.! Aug. 4 1667. Banister is notable as having been the first musician to give public concerts in London. From the London Gazette of the time we get such notices as the following : *' Dec. 30, 1672. These are to give notice, that at ^ State Papers, Domestic, Charles II., Aug. 4th, 1667, vol. 212, No. 56. 46 LOVER OF MUSIQUE Mr. John Banister's house (now called the Musick - school) over against the George tavern in White Fryers, this present Mon- day, will be musick performed by excel- lent masters, beginning precisely at 4 of the clock in the afternoon, and every afternoon for the future, precisely at the same hour." White Fryers was close to the spot which is now covered by the Guildhall School of Music. These concerts were given at in- tervals till 1678, in which year the last notice of them appears: *' Nov. 18. On Thursday next, the 22nd of this instant November, at the Musick-school in Essex- buildings, over-against St. Clement's church in the Strand, will be continued a consort of vocal and instrumental musick, beginning at five of the clock every evening, composed by Mr. John Banister." In the following year Banister died, and the concerts came to an end. Roger North, an amateur of even greater knowledge than Pepys, has left us in his " Memoires of Musick " an interest- ing account of these concerts. Of Banister he writes : " He procured a large room in 47 SAMUEL PEPYS Whitefriars, near the Temple back gate, and made a large raised box for the musicians, whose modesty required curtains. The room was rounded with seats and small tables, ale- house fashion. One shilling was the price, and call for what you pleased ; there was very good music, for Banister found means to procure the best bands in town, and some voices to come and perform there, and there wanted no variety of humour, for Banister himself {inter alia) did wonders upon a flageolet to a thorough bass, and the several masters had their solos. This continued full one winter, and more I remember not.'* North, however, did not fully approve of the arrangements at concerts during this period, and passes the following sound criti- cisms upon them. This system as begun by Banister was, he says, " called the Musick- meeting ; and all the quality and beau monde repaired to it, but the plan of this project was not so well laid as it ought to have been, for the time of their beginning was incon- sistent with the park and the playhouses, which had a stronger attraction. And what 48 LOVER OF MUSIQUE was worse, the masters undertakers were a rope of sand, not under the rule or order of any person, and everyone forward to ad- vance his own talents, and spiteful to each other, and out of emulation substracting their skill in performing ; all which together scandalized the company and poisoned the entertainment. Besides the whole was with- out design or order ; for one master brings a concert with fugues, another shows his gifts in a solo upon the violin, another sings, and then a famous lutinist comes forward, and in this manner changes followed each other, with a full cessation of the musick between every one, and a gabble and bustle while they changed places ; whereas all enter- tainments of this kind ought to be projected as a drama, so as all the members shall un- interruptedly follow in order, and having a true connexion, set off each other. It is no wonder that the play-houses got ground, and as they ordered the matter, soon routed this Musick-meeting." Banister did not long survive his friend and collaborateur, Pelham Humfrey, for he 49 D SAMUEL PEPYS died in 1679, and was buried not far from Humfrey in the cloisters of Westminster Abbey, where a small monument to his memory may still be seen. Grabu became a prominent figure in Court music and Pepys has several references to him, but not as a rule of very complimen- tary character. For instance, on October i, 1667, he writes: "To White Hall, and there in the Boarded Gallery did hear the Musick with which the King is presented this night by Mons. Grebus, the Master of his musick ; both instrumentall — I think 24 violins — and vocal ; an English song upon Peace. But God forgive me ! I never was so little pleased with a concert of musick in my life. The manner of setting of words and repeating them out of order, and that with a number of voices, makes me sick, the whole design of vocal musick being lost by it. Here was a great press of people ; but I did not see many pleased with it, only the instru- mental Musick he had brought by practice to play very just." We must not take this criticism too seriously, for Pepys did not 50 LOVER OF MUSIQUE admire any very elaborate music, and in one entry says : "I am more and more con- firmed that singing with many voices is not singing, but a sort of instrumental musique, the sense of the words being lost by not being heard, and especially as they set them with Fugues of words, one after another, whereas singing properly I think should be but with one or two voices at most and the counter- point." Grabu is chiefly interesting to us from his connection with Dryden. The latter WTOte the libretto of an opera entitled " Albion and Albanius," and out of respect, no doubt, for the French sympathies of the Court in matters musical, got Grabu to write the music for it. The preface in which the Frenchman com- mends his work to King James II. is so interesting that no apology is necessary for giving it in full. To the King. Sir, — After the shipwrack of all my fairest hopes and expectations on the death of the late King, my master, your royal brother of ever blessed memory, 51 SAMUEL PEPYS the only consolation I have left is that the labour I have bestowed on this musical representation has partly been employ'd in paying my most humble duty to the person of your most sacred Majesty. The happy invention of the poet furnished me with that occasion : the feigned misfortune of two persecuted heros was too thin a veil for the moral not to shine through the fable ; the pretended plot and the true conspiracy were no more disguised on the private stage than they were on the public theater of the world. Never were two Princes united more straightly together in common suffer- ings from ungrateful and rebellious subjects. The nearness of their blood was not greater than the conformity of their fortunes : but the Almighty has received the one to his mercy in Heaven, and rewarded the constancy and obedience of the other here below : Virtue is at last triumphant in both places ; Immortality is actually possessed by one monarch, and the other has the earnest of it in the type of earthly glory. My late gracious master was pleased to encourage this my humble under- taking, and did me the honour to make some esteem of this my part in the performance of it, having more than once condescended to be present at the repetition before it came into the public view. Your majesty has been also pleased to do me the same honour, when it appeared at your theatre in greater splendour and with more advantages of 52 LOVER OF MUSIQUE ornament ; and I may be justly proud to own that you gave it the particular grace of your royal protection. As the subject of it is naturally mag- nificent, it could not but excite my genius and raise it to a greater height, in the composition, even to surpass itself: at least, a virtuous emulation of doing well can never be so faulty but it may be excused by the zeal of the undertaker, who laid his whole strength to the pleasing of a master and a sovereign. The only displeasure which remains with me is that I neither was nor could possibly be furnished with variety of excellent voices to present it to your majesty in its full perfection. Notwith- standing which you have been pleased to pardon this defect, as not proceeding from any fault of mine but only from the scarcity of singers in this Island. So that I have nothing more at this time to beg than the continuance of that patronage, which your princely goodness hath so graciously allowed me : as having no other ambition in the world than that of pleasing you, and the desire of shewing myself on all possible occasions and with the most profound respect to be Your Majesty's most humble, most obliged, and most obedient servant, Lewis Grabu. In the preface Dryden says of him that his " qualities have raised M. Grabu to a 53 SAMUEL PEPYS degree above any man who shall pretend to be his rival on our stage." The opera, how- ever, was a failure, and Dryden later on recognised the far greater genius of Grabu's contemporary, Purcell, and collaborated with him, first of all in the songs for "Amphi- tryon," a comedy produced in 1690, and later in the more important opera of " King Arthur." After Dryden's panegyric on Grabu above quoted, it is interesting to find him speaking of Purcell as one " in whose person we have at length found an English- man equal with the best abroad." But in spite of the general disparagement of Grabu, some of his music, for instance a sailor's song, " Medway and Isis," shows that he caught the spirit of the words ; moreover the ac- companiment, written for strings and quite independent of the voice part, is a clear proof of his knowledge of the orchestra. In one thing he lamentably failed, the "just accent" which distinguished Lawes, but this no doubt was due to his foreign extraction. Certainly some of the words of the opera were not calculated to "excite the genius" 54 LOVER OF MUSIQUE of any musician. They were of course ex- clusively political, as may be gathered from the following lines to be sung by the oddly- assorted pair, Democracy and Zelota — D. Democracy kept nobles under. Z. Zeal for the Pulpit roared like thunder. Z. I trampled on the State. D. I lorded o'er the Gown. Both. We both in triumph sate, Usurpers of the Crown. At the house of Lord Brouncker — the first president of the Royal Society, and the translator of and commentator on Descartes' treatise called Musics Compendium — which seems to have been a meeting-place for musicians, Pepys met the Italian Gio- vanni Battista Draghi. After that meeting he writes that Draghi " hath composed a play in Italian for the opera which T. Killigrew do intend to have up ; and here he did sing one of the acts. He himself is the poet as well as the musician, which is very much, and did sing the whole from the words without any music prickt, and 55 SAMUEL PEPYS played all along upon a harpsicon most admirably and the composition most excel- lent." On the death of Matthew Lock, Draghi was appointed organist to the Queen, Catherine of Braganza. But this " excellent and stupendous artist," as Evelyn calls him, did not remain permanently in England, and in the next reign probably returned with the Dowager-Queen to Portugal. Another meet- ing with Draghi drew from the delighted Pepys a strong profession of the faith that was in him. After saying that all this music interferes with his work, he continues : " But then I do consider that this is all the plea- sure I live for in the world, and the greatest I can ever expect in the best of my life, and one thing more, that by hearing this man to-night, and I think Captain Cooke to- morrow, and the quire of Italians on Satur- day, I shall be truly able to distinguish which of them pleases me truly best, which I do much desire to know and have good reason and fresh occasion of judging." Here again Pepys proves himself an ardent musician and conscientious critic, desiring the widest ex- 56 LOVER OF MUSIQUE perience, and taking this opportunity of com- paring chamber music, the English cathedral music, and Italian sacred music. Another musical friend of Pepys was William Laniere, son of the Nicholas Laniere who wrote the symphonies to several of Ben Jonson's masques. Pepys was on familiar terms with the son, and often met him. Thus on December 6, 1665, he writes: "With my wife walked and Mercer to Mrs. Peirce's, where Cap- tain Rolt and Mrs. Knipp, Mr. Coleman and his wife, and Laneare, Mrs. Worshipp and her singing daughter met. . . . Here the best company for musique I ever was in. in my life, and wish I could live and die in it, both for musique and the face of Mrs. Peirce and my wife and Knipp, who is pretty enough ; but the most ex- cellent, mad-humoured thing, and sings the noblest that ever I heard in my life, and Rolt, with her, some things together most excellently. I spent the night in extasy almost.'' A month later we have the follow- ing scene, with its melancholy ending : " So 57 SAMUEL PEPYS home and find all my good company I had bespoke, as Coleman and his wife and Laneare, Knipp and her surly husband ; and good musique we had, and among other things Mrs. Coleman sang my words I set of ' Beauty Retire,' and I think it is a good song, and they praise it mightily. Then to dancing and supper and mighty merry till Mr. Rolt come in, whose pain of the tooth-ake made him no company, and spoilt ours ; so he away, and then my wife's teeth fell of akeing and she to bed. So forced to break up all with a good song and so to bed." Of Laniere's singing Pepys approved, for he tells us that " Laneare sings in a melancholy method very well, and a sober man he seems to be." On reviewing the year 1665, Pepys includes Laniere in the small circle of friends to whom he owes it that he has never " lived so merrily " as during this plague time. It is possible also that we ought to include the musician Blow among those whom Pepys mentions, for on August 21, 1667, he S8 LOVER OF MUSIQUE writes: *'This morning come two of Cap- tain Cooke's boys, whose voices are broke, and are gone from the Chapel, but have extraordinary skill ; and they and my boy, with his broken voice, did sing three parts ; their names were Blaew and Loggings ; 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." Blow was, we know, in the Chapel Royal choir, and his age at this time was nineteen, so that he may be the same as Blaew with the broken voice. Besides his professional friends, Mr. Pepys saw much of an amateur, Mr. Hill, in con- nection with whom there are one or two entries of importance. " Home by water, and there find, as I expected, Mr. Hill and Andrews, and one slovenly and ugly fellow, Seignor Pedro, who sings Italian songs to the theorbo most neatly, and they spent the whole evening in singing the best piece of musique counted of all hands in the world, made by Seignor Charissimi, the famous 59 SAMUEL PEPYS master in Rome. Fine it was, indeed, and too fine for me to judge of. They have spoke to Pedro to meet us every weeke, and I fear it will grow a trouble to me if we once come to bid judges to meet us, especially idle masters, which do a little displease me to consider." His fears were justified ; the presence of the professional made the ama- teur diffident, and a week later he says of the same party : " Great store of musique we had, but I begin to be weary of having a master with us, for it spoils, methinks, the ingenuity of our practice." Pepys here laid his finger on a fault to which must be attri- buted some of the decay into which English music soon fell. With this innovation of public concerts, music drifted more and more into the hands of the professional class, and ceased to be the general resource of the many. The same complaint is made by Roger North a few years later. It is from the pages of Pepys that we learn what an important place during this age music took in the daily life of the people. Pepys soon tired of the professional help 60 LOVER OF MUSIQUE of Signer Pedro, and a little later tells us : " Thence home, and though late, yet Pedro being there, he sang a song and parted. I did give him 5s., but find it burdensome, and so will break up the meeting/' CHAPTER IV PEPYS AS VOCALIST AND SINGING- MASTER If we could have met Mr. Pepys on one of his little expeditions on Admiralty business to Erith or to Woolwich, we should most probably have found him singing. No doubt as a young man he was what is termed '* musical," and had reached a certain degree of proficiency, for we read on December 9, 1660 : " This being done I went to chappell " (at Whitehall) "and sat in Mr. Blagrave's pew, and there did sing my part along with another before the King, and with much ease." On the anniversary of Charles I.'s death he marks the day by a song of his own. January 30, 1660 : ** This morning, before I was up, I fell a-singing of my song, * Great, good, and just, &c.,' and put myself thereby in mind that this was the fatal day, now ten 62 LOVER OF MUSIQUE years since, his majesty died." ^ The words of this song were by the Marquis of Mon- trose, and are worth recalling — " Great, good, and just, could I but rate My grief with thy too rigid fate, ^ In this reference to the execution of Charles I., Pepys is a year wrong in his calculation. The King was exe- cuted on January 30, 1649, ^^'^ therefore Pepys should have said " eleven " and not " ten years since." This would not be worth noticing except for the well-known fact that both Pepys and Mrs. Pepys made mistakes as to the date on which they were married. The same trait also is perhaps to be illustrated by the following curious piece of evidence which I owe to Dr. Edward Scott of the British Museum. Pepys always kept as an anniver- sary the 26th of March, on which day he had once been cut for the stone. Now among the Sloane MSS. at the British Museum occur the entries from the books of the apothecary who supplied Pepys with medicine on that occasion. The entries are as follows : — Sloane MS., 1536. In the margin of f. 63 (which contains a prescrip- tion) : " before he was cut for y^ stone by M""- Hollyer. " M^. Peapes. D^- J. M.» And in the margin of f. 63b, opposite another pre- scription : " to be in rediness when he was cut. For M^- Peapes who was cut for y^ stone by M^. Hollier, March y^ 28 (1658) and had a very great stone taken y^ day from him. " D^. J. M. D'-- G. Jolly." It may be noticed that in the latter entry the date given is March 28th nof 26th, so possibly in this instance also Pepys had got the date wrong. 63 SAMUEL PEPYS IM weep the world in such a strain As it should deluge once again. ** But since thy loud-tongued blood demands supplies, More from Briareus' hands than Argus' eyes, I'll sing thine obsequies with trumpet sounds, And write thine epitaph in blood and wounds." Even at this early stage Pepys was, as ever, critical. " Here Swan," he says, *' showed us a ballad to the tune of Mardike which was most incomparably wrote in a printed hand, which I borrowed of him, but the song proved but silly, and so I did not write it out." With the view, however, of be- coming really efficient, he engaged a singing- master. In June 1661 he wrote: "This morn- ing came Mr. Goodgroome to me (recom- mended by Mr. Mage ^), with whom I agreed presently to give him 20s. entrance, which I then did, and 20s. a month more to teach me to sing, and so we began, and I hope I have come to something in it. His first song is ' La cruda la bella.' " As soon as he begins to take lessons his criticisms become more frequent, and he him- ^ Probably Madge, one of the King's Band. 64 LOVER OF MUSIQUE self seems to realise that increased knowledge has made him more fastidious. He hears Mr. Blagrave and his kinswoman sing, but he notes : " I was not pleased with it, they singing methought very ill, or else I am grown worse to please than heretofore." He was careful, however, occasionally to conceal his feelings, though they are as usual not hidden in the faithful Diary. Thus he writes : *' After supper I made the ladies sing, and they have been taught, but Lord ! though I was forced to commend them, yet it was the saddest stuff I ever heard. How- ever we sat up late, and then I, in the best chamber like a prince, to bed, and Creed with me, and being sleepy talked but little." Pepys lost no opportunity of practising his singing. One Sunday he writes : " Up, and after being trimmed, alone by water to Erith, all the way with my song-book singing of Mr. Lawes's long recitative song in the be- ginning of his book." He also records a charming incident that took place on a similar expedition by water ; we can see 65 £ SAMUEL PEPYS from it how sociable the diarist was. " July 13, 1665. — I by water at night late to Sir G. Carteret's, but there being no one to carry me, I was fain to call a skuUer that had a gentleman already in it, and he proved a man of love to musique, and he and I sung together the way down with great pleasure, and an incident extraordinary to be met with." On Sundays, too, his train- ing made him more observant of the music in church. '' This morning to church, where mighty sport, to hear our clerke sing out of tune, though his master sits by him that begins and keeps the tune aloud for the parish." A speculation occurs to him as to the effect of music on a church offertory and possibly in producing a " cheerful giver." *' Here was a collection for the sexton ; but it came into my head why we should be more bold in making the collection while the psalm is singing, than in the sermon or prayer." A point to which Pepys gave some attention was that of learning **to trill," by which is meant, not a shake (on two notes), but what we should call vibrato (on one). He speaks 66 LOVER OF MUSIQUE of going for a walk *' humming to myself (which nowadays is my constant practice since I began to learn to sing) the trillo, and find by use that it do come upon me." The sound of Mr. Pepys " humming to himself" roused his wife to emulation, and in October 1661 he writes: "This morning my wife and I lay long in bed, and amongst other things fell into talk of musique, and desired that I would let her learn to sing, which I did consider, and promised her she should. So before I rose, word was brought me that my singing-master, Mr. Good- groome, was come to teach me ; and so she rose, and this morning began to learn also." We have seen in an earlier chapter that Mrs. Pepys's musical progress was not quite unbroken, but many entries show us that she advanced far enough to sing with her husband and with their servants. This brings us to a very noticeable point, — the interest which Pepys took in the musical powers of his servants. The first member of the household who is mentioned as musical is the " boy." " Lord's Bay, 67 SAMUEL PEPYS September 4. — The boy and I to singing of psalms, and then came in Mr. Hill, and he sung with us awhile ; and he being gone, the boy and I again to the singing of Mr. Porter's^ mottets, and it is a great joy to me that I am come to this condition to maintain a person in the house able to give me such pleasure as this boy do by his thorough knowledge of musique, as he sings any thing at first sight. Mr. Hill came to tell me that he had got a gentlewoman for my wife, one Mrs. Ferrabosco, that sings most admirably." It is interesting to see Pepys thus early maintaining a musician in his house. We shall see later that after the conclusion of the Diary he went to considerable expense in supporting the Italian, Cesare Morelli, for the special purpose of being helped in his music. Morelli, too, as a Roman Catholic, was the unwitting cause of considerable trouble to Pepys, and led to his being for a time incarcerated in the Tower. 1 Walter Porter was Master of the Choristers at West- minster Abbey. 68 LOVER OF MUSIQUE Mrs. Ferrabosco was no doubt a connec- tion of the well-known musicians of the same name. Of these, Alphonso Ferrabosco the younger was instructor in music to Prince Henry, to whom he dedicated a volume of " Ayres," published in 1609. This book contains a good many of the songs which were written for Ben Jonson's plays, set here with an accompaniment for the lute. Ben Jonson himself prefixed to the volume the following laudatory verses : — To my excellent friend, Alphonso Ferrabosco. " To urge, my loved Alfonso, that bold fame Of building towns and making wild beasts tame Which music had, or name her known effects, That she removeth cares, sadness ejects, Declineth anger, persuades clemency, Doth sweeten mirth, and heighten piety, And is to a body, often ill inclined. No less a sovereign cure than to the mind ; To allege that greatest men were not ashamed Of old, even by her practice, to be famed ; To say, indeed, she were the soul of heaven, That the eighth sphere, no less than Planets seven, Moved, by her order, and the ninth, more high. Including all, wee thence called Harmony ; 69 SAMUEL PEPYS I, yet, had utter'd nothing, on thy part. When these were but the praises of the art. But when I have said, The proofs of all these be Shed in thy songs, 'tis true ; but short of thee " A few days later he sketches for us the acquirements of the maid Mercer : " Back again home, and there my wife and Mercer and Tom and I sat till eleven at night, sing- ing and fiddling, and a great joy it is to see me master of so much pleasure in my house, that it is and will be still, I hope, a constant pleasure to me to be at home. The girle plays pretty well upon the harpsicon, but only ordinary tunes, but hath a good hand ; sings a little, but hath a good voyce and eare. My boy, a brave boy, sings finely, and is the most pleasant boy at present, while his ignorant boy's tricks last, that ever I saw." These " boy's tricks," however, were not always an unmixed pleasure. Once he writes : " I sent my boy home for some papers, where, he staying longer than I would have him, and being vexed at the business, and to be kept from my fellows in the office longer than was fit, I become angry, and boxed my 70 LOVER OF MUSIQUE boy when he came, that I do hurt my thumb so much, that I was not able to stir all the day after, and in great pain." After a tiring day at the office, he could find refreshment in music. " Did the most at the office in that wearied and sleepy state I could, and so home to supper, and after supper falling to singing with Mercer did however sit up with her, she pleasing me with her singing of ' Helpe, helpe,' (one of his favourite Henry Lawes's songs) till past midnight, and I not a whit drowsy, and so to bed." Mercer was a favourite pupil, and there is an account of Pepys taking down a song from the lips of Mrs. Knipp and afterwards teaching it to Mercer which must not be omitted. "And here Knipp come to us, and I did take from her mouth the words and notes of her song of * The Larke,' which pleases me mightily. Knipp tells us that there is a Spanish woman lately come over, that pre- tends to sing as well as Mrs. Knight; both of which I must endeavour to hear." A day or two later he writes : "So after a little 71 SAMUEL PEPYS supper, vexed, and spending a little time melancholy in making a base to the Larke's song, I to bed." The next day he gives Mercer a lesson in this song under the following original circumstances : '' Thence to Unthanke's and 'Change, where wife did a little business while Mercer and I staid in the coach ; and in a quarter of an hour, I taught her the whole Larke's song perfectly, so excellent an eare she hath." The fact that a girl's manner of singing was attractive proved quite sufficient to out- weigh many defects. *' Home and there find my wife come home and hath brought her new girle I have helped her to, of Mr. Falconbridge's. She is wretched poor and but ordinary favoured ; and we fain to lay out seven or eight pounds worth of clothes upon her back, which, methinks, do go against my heart ; and I do not think I can ever esteem her as I could have done another that had come fine and handsome ; and which is more, her voice, for want of use, is so furred, that it do not at present please me ; but her manner of singing is such that 72 LOVER OF MUSIQUE I shall, I think, take great pleasure in it. Well, she is come, and I wish us good fortune in her.'' Pepys paid great atten- tion to the musical progress which his ser- vants made, and in the account he has left us of a kind of examination he held in his family occurs some important information as to his own musical preferences. '* April 12, 1667. — Then by water down to Red- rifFe, meaning to meet my wife, who is gone with Mercer, Barker and the boy (it being most sweet weather) to walk, and I did meet with them and walked back, and then by the time we got home it was dark, and we staid singing in the garden till supper was ready, and there was great pleasure. But I tried my girles Mercer and Barker singly one after another a single song, ' At dead low ebb,' &c., and I do clearly find that as to manner of singing the latter do much the better, the other thinking her- selfe as I do myself above taking pains for a manner of singing, contenting ourselves with the judgment and goodness of eare." Pepys, in fact, aimed at singing with judg- 73 SAMUEL PEPYS ment — that is, intelligence and a just ex- pression of the meaning in the words — and this principle, as here explicitly set forth, is quite consistent with his admiration for the songs of Henry Lawes, of which the distinguishing mark was the application of "just note and accent" to the words. The same enthusiasm is seen in the criticism he passes on the singing of one Mrs. Button. " After supper to talke and to sing, his man Button's wife singing very pleasantly (a mighty fat woman), and I wrote out one song from her and pricked the tune, both very pretty. But I did never heare one sing with so much pleasure to herself as this lady do, relishing it to her very heart, which was mighty pleasant." It is clear that those who sang with taste and enthu- siasm, even if they had little knowledge of the art, had a sincere admirer in the amateur vocalist, Samuel Pepys. 74 CHAPTER V PEPYS ON INSTRUMENTS, CHURCH MUSIC, &c. The constant references made by Pepys to various musical instruments show that his love for music was really genuine. Many an amateur begins and ends with vocal music. Pepys, we know, loved to sing, and spent much time in learning. But not only did he try to sing ; he also prac- tised on a considerable variety of instru- ments, and he mentions many more. We know that he played upon the Treble Viol, the Lyra Viol, and the Bass Viol. This last seems also to have been played by Pepys's father, for he mentions sending his father's old Bass Viall to his brother Tom. But besides these he also mentions the Arched Viall, an instrument of which it seems no example exists. This Pepys 75 SAMUEL PEPYS saw at a Musique Meeting at the Post Office, '' where I was once before," he adds, "and thither anon come all the Gresham College and a great deal of noble company, and the new instrument was brought called the Arched Viall, where being tuned with lute strings and played on with kees like an Organ, a piece of parchment is always kept moving, and the strings which by the kees are pressed down upon it are grated in imitation of a bow by the parchment ; and so it is intended to resemble several vyalls played on with one bow, but so basely and harshly, that it will never do. But after three hours' stay it could not be fixed in tune, and so they were fain to go to some other Musique of instruments which I am grown quite out of love with." Pepys here proved himself a discerning critic. No doubt the world in general found that the Arched Viall "would never do," and therefore no example has survived till our own time. In his early days the Lute seems to have attracted most of his attention. We hear of 76 LOVER OF MUSIQUE his accompanying Lady Wright's butler into the buttery, where the hospitable and artistic host gave him " sack and a lesson on his Lute, which he played very well." Pepys writes ''''his lute," for the good reason that his own instrument had been in pawn for some two years to Mr. Blagrave, one of the Gentlemen of the Chapel Royal. Some three months later he tells us that he called at Mr. Blagrave's, "when I took up my note that he had of me for 40s. which he two years ago did give me as a pawn while he had my lute — so that all things are now even between him and I." Pepys consulted Mr. Hill, the instrument maker, about alterations to both his lute and his vial. We know also that he played the Theorbo, a Bass Lute, for he refers to a visit from the above-mentioned Mr. Hill, who came to string it. Possibly he played the Cittern also, for we find that at Dover on board ship after the landing of Charles II., Mr. Pepys, besides spending a great while in his cabin getting Lawes's song "Helpe, helpe ! " without book, 77 SAMUEL PEPYS in response to the Admiral Lord Sandwich's invitation, and with the assistance of the lieutenant's Cittern and two candlesticks with money in them for cymbals, " made barber's music, with which my Lord was well-pleased." This mention of barber's music recalls the general custom of keeping a Cittern in a barber's shop, so that the person waiting to be shaved could pass the time pleasantly by playing until his turn came. For the Guitar he had not much love, but was on a certain occasion given considerable trouble by the charge of one. This was the King's, and it was Pepys' duty to convey it from Dover to London. " I troubled much," he says, " with the King's gittar and Fair- brother the rogue, that I intrusted with the carrying of it on foot, whom I thought I had lost." Elsewhere he says he heard a French- man play " most extreme well " on it, but he adds, " methinks it is but a bauble." He tells us later that he spent an hour with Lord Sandwich, " my Lord playing upon the gittar, which he now commends above all musique in the world, because it is 78 LOVER OF MUSIQUE base ^ enough for a single voice, and is so por- table and manageable without much trouble." Pepys in fact never came to respect the guitar, for in 1667 he writes : "After done with the Duke of York, and coming out through his dressing-room I there spied Signor Francisco tuning his gittar, and Mon- sieur de Puy with him, who did make him play to me, which he did most admirably — so well as I was mightily troubled that all that pains should have been taken upon so bad an instrument." Another instrument akin to the Lute, the Bandore or Pandore, is but once mentioned. Pepys was staying at the Bear in Cam- bridge, and writes : " I could hardly sleep, but waked very early, and when it was time did call up Will and we rose, and Musique (with a Bandore for the Base) did give me a levett." This word levett is derived from the French lever^ 3, blast of trumpets intended to awaken sleepers in the morning. 1 By "base" here he does not mean to disparage the instrument, but that it is sufficient support to the voice. 79 SAMUEL PEPYS The Dulcimer, again, Pepys did not play himself, but it did not escape his notice. He first saw it at a puppet play in Covent Garden. *' Here among the fiddles I first saw a dulcimere played on with sticks knock- ing on the strings, and is very pretty." On another occasion he says : "In the next room one was playing very finely of the dulcimer, which well played I like well." The least known among the instruments Pepys mentions, is the Trumpet -Marine. This is a stringed instrument having a tri- angular-shaped body or chest and a long neck, with a single string raised on a bridge and running along the body and neck. It was played with a bow. Hawkins in his " His- tory of Music" refers very fully to the Trumpet-Marine, and quotes an extract from the London Gazette of February 4, 1674, giving an account of " a concert of four Trumpets-Marine never heard of before in England." The following entry by Pepys shows the above statement to be wrong : " To Charing Cross, there to see Polichi- nelli. But, it being begun, we in to see a 80 LOVER OF MUSIQUE Frenchman, at the house, where my wife's father last lodged, one Monsieur Prin, play- on the trump-marine, which he do beyond belief: and the truth is, it do so far out-do a trumpet as nothing more, and he do play anything very true, and it is most admirable and at first was a mystery to me that I should hear a whole concert of chords to- gether at the end of a pause, but he showed me that it was only when the last notes were 5ths or 3rds, one to another, and then their sounds like an Echo did last so as they seemed to sound all together. The instrument is open at the end I discovered ; but he would not let me look into it, but I was mightily pleased with it, and he did take great pains to shew me all he could do on it, which was very much, and would make an excellent concert, two or three of them, better than trumpets can ever do, because of their want of compass." The reason for this "Echo," which so astonished Mr. Pepys, was the presence of a large number of sympathetic strings inside the instrument. Had Pepys been allowed SAMUEL PEPYS to gratify his curiosity he would have seen the cause of the eiFect which struck him. The bridge of this instrument is movable at one corner, and the vibration of this upon the body of the instrument causes the extra- ordinary resemblance to an ordinary trumpet, roughly and loudly played, to which no doubt the name " trumpet-marine " is due. In Moliere's Bourgeois Gentilhomme M. Jourdain shows his ignorance by wishing to add a Trumpet-Marine to the instruments in his concert : ''II y faudra mettre aussi une trompette marine. La trompette marine est un instrument qui me plait, et qui est harmonieux." The last of the stringed instruments re- ferred to by Pepys is the Virginal. It seems, as Mr. Hipkins says, that during this period all keyboard stringed instruments, in which sound was produced by plucking the strings with jacks, were known as Virginals. But the word has also a narrower meaning, namely, that of an oblong spinet, and it is probably in this latter sense that Pepys generally uses it. His allusions to it are 82 LOVER OF MUSIQUE numerous and amusing. At the time of the Great Fire he tells us that the "River was full of lighters and boats taking in goods, and I observed that hardly one lighter or boat in three, that had the goods of a house in, but there was a pair of Virginals in it." And again: "They had a kins- woman, they call daughter, in the house, a short, ugly, red-haired slut, that plays upon the virginalls and sings, but after such a country manner I was weary of it, yet could not but commend it. So by and by after dinner comes Monsr. Gotier, who is beginning to teach her, but Lord ! what a droll fellow it is to make her hold open her mouth, and telling her this and that so droll would make a man burst, but himself I perceive sings very well." This Gotier is no doubt the celebrated musician to whom Herrick alludes in his little poem in praise of Henry Lawes : — " Touch but thy lyre, my Harrie, and I hear From thee some raptures of the rare Gotere. Then if thy voice commingle with the string, I heare in thee rare Laniere to sing 83 SAMUEL PEPYS Or curious Wilson : Tell me, canst thou be Less than Apollo that usurp'st such three, Three unto whom the whole world gives applause, Yet their three praises praise but one; that's Lawes." But on the whole Pepys distinctly pre- ferred wind instruments to others. We have seen how wind-music "wrapped up his soul " when he heard it at the theatre, so that he "remained all night transported," and throughout his Diary he never tires of telling us how much he loved playing his Flageolet. Not only did he play it himself, but he had his wife taught this insinuating instrument, and on all occasions when it was possible he " took out his Flageolet and piped." He uses it to fill up the time " till a dish or poached eggs was got ready for us," and when his day's work is over he takes his Flageolet "and played upon the leads in the garden where Sir W. Pen came out in his shirt-sleeves onto his leads, and then we staid talking and singing." The master whom Pepys employed to teach his wife was named Greeting, and we still have copies of the Flagelet - Tutor which 84 LOVER OF MUSIQUE this man published. Its title is " The Plea- sant Companion or New Lessons and In- structions for the Flagelet, by Thomas Greeting, Gent." It contains an amusing preface, which exactly describes the com- panionship which Pepys found in his in- strument. '" The Flagelet is a very pleasant Instrument, and may be properly called Youth's Delight, by reason it may be carried in their Pocket with little or no trouble, walking in a Wood, or going by Water. It hath the advantage of other Instruments, being always in Tune, which other Instru- ments are not; and for those Youths and Young Ladies, whose Genius leads them to Musick, I know not a more easie and pleasant Instrument, than that we call the Flagelet : And though it may seem a little hard to Beginners, yet with the practice of a few hours, observing these Directions, and a little Assistance of a Master, the know- ledge hereof may be readily attained unto." In the copy of Greeting in the possession of the author there is to be found twice repeated a monogram consisting of the 85 < I- g I o J H I Vii W.L. -fe Qi. tL^ UL I ^^j 1. tL\ tlU ^Wii "W^ Wn Wn> fl#i T i HlJV i W.il U %i\ .,11 1J5L tiU W.11 1 -J I II Hil ii. -^-h ^ ^ o^ ■^:ir <, -Hi+^L.-: 1lr ^ 1^ litli ^^-m 1^ -.o'4i ^3i 1 ^^1 I I 1*1 — * rr '^''rHD -iHtf 1^ -^L, <: -4) ^ i LLLi LOVER OF MUSIQUE letters S. P. Dr. Edward Scott, of the British Museum, thinks there can be little doubt that the monogram is written by Pepys, and if that is so, no doubt this copy originally belonged to Pepys himself. Pepys also mentions another well-known variety of this instrument, the Double Flage- olet. " To Dumbleby's, the pipe-maker, there to advise about the making of a flageolet to go low and soft, and he do show me a way which do do, and also a fashion of having two pipes of the same note fastened together so as I can play on one and then echo it upon the other, which is mighty pretty." The Recorder or Beaked Flute is not men- tioned until late in the Diary, 1668, and affords evidence of the continued and in- creasing interest which Pepys took in music. " To Dumbleby's and there did talk a great deal about pipes ; and did buy a recorder, which I do intend to learn to play on, the sound of it being of all sounds in the world most pleasing to me.'* This instrument is referred to in the famous scene in Ham- let — 87 SAMUEL PEPYS Ham. Come, some music ! come, the recor- ders ! — For if the king like not the comedy, Why, then, belike, — he likes it not, perdy. — Come, some music ! Then comes the scene with the two friends, and at the end of it we have the stage-direc- tion *' re-enter players with recorders," and Hamlet continues — Ham, O, the recorders ! — let me see one. — To withdraw with you : — why do you go about to recover the wind of me, as if you would drive me into a toil ? Guil. O, my lord, if my duty be too bold, my love is too unmannerly. Ham, I do not well understand that. Will you play upon this pipe ? Guil. My lord, I cannot. Ham. I pray you. Guil. Believe me, I cannot. Ham. I do beseech you. Guil. I know no touch of it, my lord. Ham. It is as easy as lying : govern these ven- tages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. Guil. But these cannot I command to any utter- ance of harmony ; I have not the skill. 88 LOVER OF MUSIQUE Ham, Why, look you now, how unworthy a thing you make of me ! You would play upon me ; you would seem to know my stops ; you would sound me from my lowest note to the top of my compass ; and there is much music, excel- lent voice, in this little organ ; yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe ? Call me what instru- ment you will, though you can fret me, yet you cannot play upon me. This instrument seems to have made Pepys take to studying music with some extra attention. " So home to my chamber," he writes, " to be fingering of my Recorder, and getting of the Scale of Musique without book, which I at last see is necessary for a man that would understand musique as it is now taught to understand, though it be a ridiculous and troublesome way, and I know I shall be able hereafter to show the world a simpler way ; but like the old hypotheses in philosophy, it must be learned though a man knows a better." This entry is obscure. Pepys can hardly mean that he was learning the scale for the first time ; probably he refers to the special fingering of the Recorder. 89 SAMUEL PEPYS The very next night he enters in his journal : " Home, and then to the perfecting my getting the scale of musique without book, which I have done to perfection backward and forward ; " and on the following night he merely puts " Conning my gamut." All this love for instrumental music was not shared by one of Pepys' friends. Lord Lauderdale. The diarist went to Lord Lauderdale's house (situated, it is said, on Highgate Hill, and now known as Waterlow Park), and he tells us he found " him and his lady and some Scotch people at supper. Pretty odd company, though my Lord Brouncker tells me my Lord Lauderdale is a man of mighty good reason and juge- ment. But at supper there played one of their servants upon the viallin some Scotch tunes only, several and the best of their country as they seemed to esteem them, by their praising and admiring them ; but — Lord, the strangest ayre that ever I heard in my life, and all of one cast. But strange to hear my Lord Lauderdale say himself that he had rather hear a cat mew than the best 90 LOVER OF MUSIQUE musique in the world ; and the better the musique, the more sicke it makes him, and that of all instruments he hates the lute most, and next to that, the bagpipe." Lastly, Pepys gives us various references to organs. For instance, he goes " to Hackney . . . and here I was told that at their church they have a fair pair of organs, which play while the people sing, which I am mightily glad of, wishing the like at our church at London, and would give £^o towards it." He would always go out of his way to see an organ, as, indeed, he would to see most things; and he writes : "Thence to the Exchange ; while meeting Dr. Gibbons there, he and I to see an organ at the Dean of Westminster's lodgings at the Abby, the Bishop of Rochester's." Similarly on his visit to The Hague he notices that there were very fine organs in the churches, and he jots down in his Diary that on a certain June 17 (Lord's Day) "the Organs did begin to play at Whitehall before the king." In April 1661 he went to Rochester and " there saw the Cathedrall, which is 91 SAMUEL PEPYS now fitting for use, and the organ then a-tuning." From organs it is but a short step to the choirs which they accompanied. Here, too, his opinion is expressed with perfect frank- ness, but he is not without the ordinary- human prejudice in favour of a comfortable seat. On February 28, 1664, he writes: " Up and walked to Paul's. But before and after sermon I was impatiently troubled at the Quire — the worst that ever I heard." As regards the Abbey, he tells us that he there heard the church service read **very ridiculously." This may, however, refer to the clergy rather than the choir, for a few months later Pepys " met Mr. Hooper, and he took me in among the quire, and there I sang with them their service." But his warmest commendation is reserved for St. George's, Windsor : "So took coach and to Windsor, to the Garter, and thither sent for Dr. Childe ; who come to us, and carried us to St. George's Chappell ; and there placed us among the Knights' stalls (and pretty the observation, that no man, but a woman, 92 LOVER OF MUSIQUE may sit in a Knight's place, where any brass- plates are set) ; and hither come cushions to us, and a young singing-boy to bring us a copy of the anthem to be sung. And here, for our sakes, had this anthem and the great service sung extraordinary, only to entertain us. It is a noble place indeed, and a good Quire of voices." Such is the soothing effect of a knight's stall and a copy of the music. Of this Dr. Child, the following anecdote is told, for the true version of which we are indebted to the researches of Mr. Barclay Squire, set forth in the " Dictionary of National Biography." It appears that after the Civil War about ;£500 was owing to Child as arrears of salary. One day, despair- ing of ever receiving so large a sum from the King, he declared in the presence of some of the Canons of Windsor that he would gladly give up his right to the ;f 500 for £^ down and some bottles of wine. The Canons took him at his word, and a formal agreement on the subject was drawn up and signed. When, however, James II. succeeded to the 93 SAMUEL PEPYS throne, one of his first actions was to pay ofF arrears which had been left unpaid by his brother. Then, as our authority put it, Child "repined," but was generously released by the Canons from his agreement, on con- dition that he paved the body of the choir at St. George's, Windsor, with marble. This he did, and the fact is recorded on his tomb. 94 CHAPTER VI PEPYS AS THEORIST AND COMPOSER The Theory of Music was a subject which had great fascination for Pepys, and an inter- esting proof of this is the mention he makes at various times of the most noted works on the subject. He mentions early Morley's celebrated *' Plaine and Easie Introduction to Musique." " Having a cold so as I am not able to speak, I lay in bed till noon, and then up and to my chamber with a good fire, and there spent an hour on Morley's Introduction to Musique, a very good but unmethodical book." Again, he mentions another celebrated treatise. "Walked to Woolwich all the way reading Playford's Introduction to Musick, wherein are some things very pretty." Later on we find him thinking for himself on the subject. He begins to be dissatisfied with the ideas set 95 SAMUEL PEPYS forth. He spends a morning " trying some conclusions upon my viall in order to the inventing a better Theory of Musick than hath yet been abroad," and he adds : " I think verily I shall do it." At this time he is plainly dissatisfied with our English music, for he goes to the Queen's Chapel, " and there did hear the Italians sing ; and, indeed, their musique did appear most admir- able to me, beyond anything of ours ; I was never so well satisfied in my life with it." He is still convinced that he can do some- thing towards inventing a better theory. He goes '' to Bishopsgate St. thinking to have found a Harpsicon-maker that used to live there before the fire, but he is gone, and I have a mind forthwith to have a little Harpsicon made me to confirm and help me in my musique notions, which my head is nowadays full of, and I do believe will come to something that is very good." A week later he has Mr. Banister (whom Pepys calls " the great Master of Musique "), and has "very good discourse with him about musique, so confirming some of my new 96 LOVER OF MUSIQUE notions about musique that it puts me upon a resolution to go on and make a scheme and theory of musique — not yet ever made in the world." One does not know what direction his thoughts took, but it is interesting to note that a few days later he was actually dis- cussing Acoustics. The entry is so important that no apology is necessary for inserting it in full. "Thence with Lord Brouncker to the Royall Society, where they were just done ; but there I was forced to subscribe to the building of a College, and did give £^o ; and several others did subscribe, some greater and some less sums, but several I saw hang off; and I doubt it will spoil the Society, for it breeds faction and ill-will, and becomes burdensome to some that cannot, or would not, do it. Here to my great con- tent I did try the use of the Otacousticon, which was only a great glass bottle broke at the bottom, putting the neck to my eare, and there I did plainly hear the dashing of the oares of the boats in the Thames to Arundell gallery window, which, without it. 97 G SAMUEL PEPYS I could not in the least do, and may I believe be improved to a great height, which I am mighty glad of. Thence with Lord Brouncker and several of them to the King's Head Taverne by Chancery Lane, and there did eat and drink, and talk, and, above the rest, I did hear of Mr. Hooke and my Lord an account of the reason of concords and discords in musique, which they say is from the equality of vibrations ; but I am not satisfied in it, but will at my leisure think of it more, and see how far that do go to explain it." Now that he is seriously studying theory, we find him seeking a celebrated French treatise by Mersenne, " a man that has wrote well of musique, but it is not to be had, but I have given order for its being sent for over ; and I did here buy Des Cartes his little treatise of Musique." The latter work he tells us later " he understood not, nor think he did well that wrote it, though a most learned man." But with Mersenne it was a different story : '*In the office being pleased that this morning my bookseller LOVER OF MUSIQUE brings me home Marcennus's book of musick, which costs me £2, 2s., but is a very fine book." Pepys began composition in February 1662. " At night begun to compose songs, and begun with ' Gaze not on Swans,' " and a little later we read : '' Long with Mr. Birken- shaw in the morning at my musique prac- tice, finishing my song of ' Gaze not on Swans ' in two parts, which pleases me well, and I did give him £^ for this month or five weeks that he hath taught me, which is a great deal of money and troubled me to part with it." This song does not now exist, though there is one to the same words by Henry Lawes. The earliest song still remaining to us is his setting of " Beauty Retire," the words of Solyman to Roxolana in the " Siege of Rhodes." Of the song '' Beauty Retire " there are two settings in the Pepysian library. They are not altogether unlike each other, the key being the same, and the rhythm very similar. But one (printed in Mr. Wheatley's edition, 99 SAMUEL PEPYS and assigned by him to Pepys) occurs in a collection of things by an Italian, one Morelli. This collection is described by Pepys as being a collection of " Songs and other Composi- tions, Light, Grave, and Sacred, for a single voice, adjusted to the particular compass of mine, with a Th. Bass on ye Guitar by Cesare Morelli." It is possible that this was an amplification of the original setting, made by Morelli, who lived with Pepys and assisted him in his music some years after the period of the Diary, as he states later. But whether this version be Morelli's or not, it is certain that to the other we must look for Pepys's composition. The proof of this lies in the fact that the portrait of Pepys by Hayles in the National Portrait Gallery shows the first few bars of " Beauty Retire." He is holding the composition in his hand, and the music can be plainly read. Now this setting is not the one we have ascribed to Morelli, but the other. It is true that in the picture the key is different. This may, however, be the original key and lOO LOVER OF MUSIQUE would be suitable to a woman's voice, for instance Knipp's, while the setting in the MS. would be as Mr. Pepys himself sang it. There can be little doubt that Pepys's version came first, and that the other is much later, for as we shall see presently, Morelli belongs altogether to the later part of the diarist's musical life, and is never even men- tioned in the Diary itself. The song is first mentioned on December 6, 1665 : "I spent the afternoon upon a song of Solyman's words to Roxolana that I have set." This is followed on December 1 1 by the intelligence : ** To Mr. Hill, and sang among other things my song of * Beauty Retire,' which he likes, only excepts against two notes in the base, but likes the whole very well." The next mention is on Feb- ruary 23, 1666, as follows: "Comes Mrs. Knipp to see my wife, and I spent all the evening talking with this baggage, and teach- ing her my song of ' Beauty Retire,' which she sings and makes go most rarely — and a very fine song it seems to be." And again elsewhere : " After our first bout of dancing, 101 SANTA BAE3ARA COLLEGE LIB.JAR SAMUEL PEPYS Knipp and I to sing, and Mercer and Captain Downing, who loves and understands Musick, would by all means have my song of ' Beauty Retire,' which Knipp had spread abroad, and he extols it above anything he ever heard." His teaching of Knipp seems to have had its reward, for in yet another place he writes : " Here we had ale and cakes, and mighty merry, and sung my song, which she (Knipp) now sings bravely, and makes me proud of myself." The next song on which Pepys embarked, and the only one besides " Beauty Retire " which we possess, was " It is Decreed." This was begun on April 5, 1666. The words are also by Ben Jonson, and the subject seems to have appealed to Pepys, for three weeks later he tells us : " In all my ridings in the coach and intervals my mind hath been full these three weeks of setting to musique * It is decreed.' " It was a hard task, and three months later we read : " I home, and then after a little while making of my tune to ' It is decreed ' — to bed." About a month later : " Mrs. Knipp tells me my song of 102 LOVER OF MUSIQUE ' Beauty Retire ' is mightily cried up, which I am not a little proud of, and do think I have done ' It is decreed ' better, hut I have not finished it.'' Later still, in November, he says : " After church home and I to my chamber, and there did finish the putting time to my song of ' It is decreed,' and do please myself at last, and think it will be thought a good song." It was not long, in fact only three days, before the composer began to teach his favourite Mrs. Knipp what he calls his " new Recitativo of ' It is decreed,' of which," he adds, " she learnt a good part, and I do well like it, and believe shall be well pleased when she hath it all, and that it will be found an agreeable thing." It is to the credit of the composer that he took such pains, and spoke on the whole so modestly of his effort. No doubt he had merely fitted a melody to the rather bom- bastic words, and had put no accompaniment, for about a month later he writes : *' Then I to begin setting a base to ' It is decreed.' " His " base " was not satisfactory, for a week 103 SAMUEL PEPYS later he met " Mr. Hingston, the organist (my old acquaintance), and I took him to the Dog Taverne, and got him to set me a Base to my ' It is decreed/ which I think will go well, but he commends the song not know- ing the words, but says the ayre is good, and believes the words are plainly expressed. He is of my mind against having 8ths unnecessarily in composition. This did all please me mightily." The artful Mr. Hingston evidently found consecutive octaves between the bass that Mr. Pepys had begun to set and the melody of the song, and broke it gently to the composer. At this same interview Mr. Hingston gave the diarist a pitiful account of the state of affairs in the King's Band. " Many of the Musique are ready to starve, they being five years behindhand for their wages ; nay, Evens the famous man upon the Harp, having not his equal in the world, did the other day die for mere want, and was fain to be buried of the alms of the parish, and carried to his grave in the dark at night without one linke, but that Mr. Hingston met it by chance and 1 04 LOVER OF MUSIQUE did give I2d. to buy two or three links. He says all must come to ruin at this rate, and I believe him." Kingston was a pupil of Orlando Gibbons, and served under Charles I., Cromwell, and Charles II. Mr. Kingston's Base was a success, for on Christmas Day, 1666, Pepys "having dined well on some good ribs of beef roasted and mince pies " (which Mrs. Pepys, poor wretch, had sat up till four in the morning seeing her maids make), '^ and having my wife, my brother, and Barker to dinner, and plenty of good wine of my own, and my heart full of true joy — after dinner I began to teach my wife and Barker my song, ' It is decreed,' which pleases me mightily, as now I have Mr. Kingston's Base." Mercer had a lesson in the song a week or two later, and Barker also, *' which," he says, "she will sing prettily." It is likely they found the song difficult, for no references to it appear for a whole year, when again Mercer is being taught " It is decreed." Probably the ladies never did master the song, for three months later Mr. Pepys began to " prick out * It is 105 SAMUEL PEPYS decreed/ intending to have it ready to give Mr. Harris on Thursday for him to sing, believing that he will do it more right than a woman that sings better, unless it were Knipp, which I cannot have opportunity to teach it to." Though we naturally kn'ow most of Pepys's musical life during the period of the Diary, yet it must not be supposed that his enthusiasm abated in later years. He became, of course, a more prominent public servant, and his time was therefore more occupied, but the old fire is there still, and in 1674 he can still write of " musique, in which my utmost luxury still lies." One great proof that he kept up his musical studies lies in the fact that he took into his house the Italian, Cesare Morelli, in order to have some one to help him whenever he could spare time for music. This Morelli is an important figure in Pepys's life after the Diary closes, and a short sketch of his career will be of interest. Born in Flanders and bred at Rome, he was, at the time when he was first recom- 106 LOVER OF MUSIQUE mended to Pepys, in the service of a noble- man at Lisbon. He was sent to Pepys by his friend Mr. Hill, and was described as having a most admirable voice, and singing rarely to his theorbo and with great skill. "His manner of singing," says Hill, "is alia Italiana di tutta perfettione." Pepys, in a very frank and characteristic letter, describes to Hill, and through him to us, the way in which he takes his gradual rise in the world. " Nothing," he says, " which has yet or may further happen towards the rendering me more conspicuous in the world, has led or can ever lead to the admitting any alteration in the little methods of my private way of living ; as having not in my nature any more aversion to sordidness than I have to pomp, and in particular to that sort of it which consists in the length of such a train (I mean of servants for state only) as the different humour of some and greater quality of others do sometimes call for." But if the young Morelli can put up with his " silent and unencumbered guise of life," he is willing to take him into his service, and to 107 SAMUEL PEPYS pay him £'>^o 2. year, with his lodging and entertainment. So Morelli became a member of Pepys's household, and no doubt rendered his em- ployer great assistance in his musical studies. But a storm was coming which made it necessary for the two to part company. At the beginning of 1679 (four years after Morelli's arrival in England) Pepys was accused of being a Roman Catholic, and of plotting to dethrone the King. In support of this it was alleged that Morelli, who lived in his house, was no musician but a disguised Jesuit. Pepys's enemies managed to secure his committal to the Tower in May 1679, though he was eventually released on bail. In the end the charge was not proceeded with, but Pepys had at the end of 1678 requested Morelli to move from his house to Brentwood, having first vainly tried to induce him to abjure his religion and turn Protestant. In a letter still extant Morelli writes to assure Pepys that many could bear witness to his not having been known at Lisbon as a priest, much less as a Jesuit. 108 LOVER OF MUSIQUE " Had I been such,'' he says, " I should have been obliged, on pain of excommunication, to clothe myself as a priest in Portugal, instead of living at Lisbon four years in the same dress I wear here." But though Morelli was no longer in his house, Pepys did not cease to correspond with him and consult him on musical matters. In September 1679 ^e writes to him that he wished Morelli were present, for then ** I would have consulted with you about the use of the table which you have given me for the guitar ; for the little knowledge in musique which I have, never was of more use to me than it is now, under the molestations of mind which I have at this time, more than ordinary, to contend with. Therefore I would be glad to improve that little know- ledge as far as I could, to making myself capable, by the help of your table, of playing a basse-continue, which I would not despair of doing in a tolerable degree, after you shall have made me master of that table." Therefore he proposes to visit Morelli for a day, *' having nothing remaining in my 109 SAMUEL PEPYS hands to practise upon but the Lamentations of Jeremiah." Even more than a year later Pepys, though keeping up his intimacy with Morelli, is still afraid of the charge of Popery. He asks Morelli, when he comes up to London, to see that his *'stay be no longer than is just necessary." The same enemies apparently were ready to take any opportunity of injur- ing him. *' But," he adds, " I hope God Almighty will, in His due time, deliver us from the ' lying tongues ' mentioned in your last anthem — for which this gives me occa- sion of again thanking you, as being words very well chosen with respect to my present case, and those words well set." In April of the same year Morelli wrote to Pepys to sympathise with him in an illness, and also to give his opinion of some music Pepys had sent him for criticism. The letter is worth quoting in full. lUk April le^i. Honoured Sir, — I did receive your last letter with much grief having an account of your painful feaver. I Pray God it will not vex your body too no LOVER OF MUSIQUE much, and if by chance it should vex you longer, there is here a man that can cure it with simpa- thetical powder, if you please to send me down the pearinghs of the nailes of both your hands and your foots, and three locks of hair of the top of your crown. I hope with the grace of God it will cure you. As for the compositions of them two masters, on my jugement (though weak) I like better Baptist's works than Pedro's, because Baptist work masterly as you will perceive betwixt their bases. All Baptist's bases are singable where many of Pedro's are not so. — Herewith my humble re- spects, remains, honoured sir, your most grateful servant, Cesare Morelli. Baptist is no doubt the Italian musician who is mentioned by Pepys in 1667 as having at Lord Brouncker's house sung through an act of an opera which he had just composed. Pepys admired it greatly. Who Pedro was is more doubtful. Possibly he was the Italian whom Pepys had at his house on one occasion with other singers. He calls him *' a slovenly and ugly fellow, who sings Italian songs to the Theorbo most neatly." Morelli must after this have returned to III SAMUEL PEPYS the Continent. We possess, however, one more letter of his written from Brussels more than five years later, on November 23, 1686. He has heard that the King, James II., is about to form a choir for his chapel, and he writes to ask Pepys to get him a place in it. Whether he was successful or not does not appear. That Morelli taught others than Pepys appears from an incidental mention of him in Roger North's Auto- biography. Speaking of a young lady to whom he was somewhat attracted, North tells us that " she mastered that puzzling instrument the Lute, and having a good voice and the instruction of an Italian — one Signor Morelli — she acquired to sing exceed- ing well after the Italian manner, to her own playing upon the Lute or Guitar." From this point Morelli vanishes from Pepys's life, but the intimate terms on which the two stood show that Pepys kept alive his musical interests even when the pressure of public business became more severe. This appears also very clearly in the Diary which he kept of his expedition to Tangier. 112 LOVER OF MUSIQUE It shows the estimation in which Pepys was held, that when Charles II. sent out ships and men to demolish the works at Tangier, and to bring home the garrison, Pepys was sent to decide the various questions as to compensation for property destroyed, and the like, which were sure to arise. He him- self describes for us the errand on which he was sent : " My own part is adjudging the civil proprieties between the King and the burghers. In that, I trust in God, I shall leave as little dissatisfaction on the proprie- tors' part (governing myself by doing as I would be done by) as it is expected I should prevent any impostures on his Majesty." Pepys himself approved of Charles's policy towards Tangier, and evidently disliked the town on other grounds, for in the same letter to his friend Houblon, from which we have just quoted, he writes with an honest, affectionate touch that reminds us of the Diary : " I would not wish my sweet W. or little Jemmy here ; for with sorrow and indignation I speak ; it is a place of the world I would last send a young man to, 113 H SAMUEL PEPYS but to hell. Therefore, on God's account as well as the King's, I think it high time it were dissolved." If Pepys had been the old roue that he is too often called, he would not have felt this *' sorrow and indignation.'' Those who emphasise the less respectable features of the Diary forget that it lays bare the intimate daily life of a young man. Pepys was in his twenty-seventh year when he began to write, and he gave up the Diary when but just entering his thirty-eighth. Indeed the touching words with which he lays down his pen, memorable enough for their own sake, are sufficient answer to those who igno- rantly denounce the writer as an old rascal or a vain old man. " And thus ends all that I doubt I shall ever be able to do with my own eyes in the keeping of my Journal, I being not able to do it any longer, having done now so long as to undo my eyes almost every time that I take a pen in my hand ; and therefore whatever comes of it I must forbear ; and therefore resolve, from this time forward, to have it kept by my people 114 LOVER OF MUSIQUE in longhand, and must be contented to set down no more than is fit for them and all the world to know ; or if there be anything, which cannot be much, now my amours are past^ and my eyes hindering me in almost all other pleasures, I must endeavour to keep a margin in my book open, to add here and there a note in short-hand in my own hand. And so I betake myself to that course, which is almost as much as to see myself go in to my grave : for which, and all the discom- forts that will accompany my being blind, the good God prepare me ! " With this outburst of genuine feeling ringing in our ears, we can hardly doubt that Pepys had once and for all put aside the follies of his youth. Indeed the records of his after life abound in evidences of the good work done for his King and country, for science, and for art. That he did his work well at Tangier we can gather from the letter Lord Dartmouth, the head of the expedition, writes to him on their return. In it he says : " Though I can never sufficiently acknowledge all your »i5 SAMUEL PEPYS favours in this service, yet my true thank- fulness and gratitude to you shall never be wanting. I hope you found his Majesty satisfied in your service, otherwise I can never hope he will be in mine.'' This Tangier Diary or Journal has not the fulness or the self-revelation of the earlier one, but it contains sufficient charac- teristic touches to make it very interesting reading. From it we see that Pepys was able to gratify his taste for music on the voyage. Indeed, he writes to his friend Evelyn from Portsmouth while he was quite ignorant of the object for which he was being sent to Tangier, and includes music among the attractions which he promises himself. *' What our work, nevertheless, is, I am not solicitous to learn, nor forward to make griefs at, it being handled by our masters as a secret. This only I am sure of, that over and above the satisfaction of being thought fit for some use or other ('tis no matter what), I shall go in a good ship, with a good fleet, under a very worthy leader, in a conversation as delightful as ii6 LOVER OF MUSIQUE companions in the first form in divinity, law, physic, and the usefuUest parts of mathematics can render it, namely, Dr. Ken, Dr. Trumbull, Dr. Lawrence, and Mr. Sheres ; with the additional pleasure of con- certs (much above the ordinary) of voices, flutes, and violins ; and to fill up all (if any- thing can do it where Mr. Evelyn is want- ing), good humour, good cheer, some good books, the company of my nearest friend, Mr. Hewer, and a reasonable prospect of being home again in less than two months." Of this company Evelyn writes that " they seem to carry along with them not a colony only, but a college, nay, an whole university ; all the sciences, all the arts, and all the professors of them too." One of the company, however, was to return ingloriously before the rest. When they reached Tangier, Dr. Trumbull was, as Pepys says, *' so weak and sheepish," and exhibited such a '* ridiculous melan- choly," that at last Lord Dartmouth, observing that Pepys did all the work, and that Trumbull signified little, re- 117 SAMUEL PEPYS solved to send the latter home. Of this departure, and the feelings with which the rest of them viewed it, we have an amusing description quite in Pepys' early and most graphic style. " Of/. 20, 1683. Saturday. — Ending letter ; Dr. Trumbull still ridicu- lously impatient to be gone. But it was afternoon before my Lord had done. Then, all of us took our leaves, with all the respect in the world, that he might be useful in England " {i.e. useful to Pepys and his friends). " My Lord came with him to my chamber, and the governor, Kirke, being with us, we drank a parting bottle to his good voyage. We all walked down, saw him in the boat, and gave him several guns from the town. So the fool went away., every creature of the house laughing at him.'" Here we recognise the old shrewdness of the diarist. That the art of music at any rate was represented on the voyage is borne out by the various entries during that period. While still in touch of Portsmouth, Pepys dines on board the Royal Mary^ and records " many songs among the gentlemen and LOVER OF MUSIQUE commanders/' On one occasion he sits up " till midnight, on the quarter-deck, seeing the seamen dance to the harp and song," on another, " after dinner, in the cabin, musick and good humour." He dines with Sir J. Berry in the Henrietta, and after dinner " he and a reformado captain played on the violin," and when they are off Cadiz he puts down " Night, mighty pretty music on the flute." But as soon as Tangier was reached Pepys had too much work to spare time for music, and there are but few references to it. Ex- cept for one entry of a visit " to Captain St. John's ; a good supper, and a harp well played on," such distractions as he had were of a different kind. He has "the pleasure of again seeing fine Mrs. Kirke, better dressed than before, but yet short of what I have known her," or he entertains himself in Hakluyt's " English Voyages, Navigations, Traffics, and Discoveries," to his mighty pleasure. Towards the end of his life we hear little of his musical tastes. He was, however, 119 SAMUEL PEPYS pestered by those who wished him to hear vocalists sing. A Lady Tuke wrote in 1686 asking him to hear one Signor Cefache, and adds, " he also designs to bring Batiste with him to play on the harpsichord, I having told him you have the best in England, and are a great lover of music." We have also a letter written by his nephew, Jackson, as late as 1699, which shows that Pepys in his retirement at Clapham, still had the same enthusiasm as of old, and still liked to hear who were helping forward the art which he loved. Speaking of his stay in Rome, Jackson tells his uncle among other things of " Paluccio, an admired young performer, singing, and Corelli, the famous Violin, playing in concert with above 30 more." So we may take leave of Mr. Pepys, his viols, his songs, and his friends. Nor can we sum up better the impression — "votiva veluti descripta tabella " — which his unique history of himself leaves on our minds, than by quoting the words with which his friend and fellow-diarist, Evelyn, records his death. — " 1703. May 26. This day died Mr. 120 LOVER OF MUSIQUE Samuel Pepys, a very worthy, Industrious, and curious person, none in England exceed- ing him in knowledge of the navy, in which he had passed through all the most consider- able offices, Clerk of the Acts and Secretary of the Admiralty, all which he performed with great integrity. When King James II. went out of England he laid down his office, and would serve no more ; but withdrawing himself from all public affairs, he lived at Clapham with his partner, Mr. Hewer, for- merly his clerk, in a very noble house and sweet place, where he enjoyed the fruit of his labours in great prosperity. He was universally beloved, hospitable, generous, learned in many things, skilled in music, a very great cherisher of learned men of whom he had the conversation." 121 The Accompaniment Arranged by Sir Frederick Bridge, i Slow and with dignity. BEAUTY RETIRE Composed by Samuel Pepys. ■nif ^=iii^=E^35=i^^^slf€i3^tii3HgE|i|^ F— ^ — ^— ^-P— g— #- ■ i^-ig=U-lt-- Beau-ty Re-tire, thou doest my pit - ty move. Be - lieve mypit-ty, and then trust my love. Att first I thought her by our Pro-phet sent feeE^f mm =:=:^g^: m j^^m Ui^-^£^^ rail. tempo mf --^^^ !S*=?=i=g: re - ward for Va - lour's toiles, More worth than all my Fa-ther's spoils, -^^^m^^ :==^==^ =^EEEi zzz^rzz^ziz A——, But now shee is be-come my pun-ish-ment ; But mf =*=! m If ^^^l%g¥P rail. I temjm ^^^^^mmi P=P=f: ^lgigE^=S sloiver '^smM Thou art just, O Pow'r Di - vine, With new and pain-ful arts of studied war I breake the hearts of halfe the world, and Shee breakes mine! I— I I slotver ^ ^Si~- I I ^^^m i^===§^i :iii IIIM^I 1 The melody and bass are exactlj' as ihey stand in the Pepys MS. The harmony is filled in from the original figured bass— the arranger is responsible for the marks of expression. To face p. 123. INDEX Albion and Albanius, 51 Almonry, the, at Westminster, 24 Amphitryon, Purcell's, 54 Arch-viall, 76 Ashwell, Mrs. Pepys' maid, dances, 11 Banister, John, 38 ; his "Tem- pest " music, 38; and Duke of York, 41 Baptist's opera, iii Barber's music, 78 Bear, the, at Cambridge, 79 "Beauty Retire," 99 seq. \ in Hayles' portrait, 100 Berkenshaw, teaches Pepys, 9; his rules, 9 Blackbird, Pepys', 5 " Blacksmith, The," 15 ; tune from " The Dancing-Mas- ter," 16 Blow, Dr., 58 Bransle or Brawl, the, 32 ; tune, 33 Brouncker, Lord, 55 Charissimi, 59 Charles II., escorted home by Pepys, 4; beats time to the anthem, 26 ; puts an affront on Singleton's music, 27 Child, Dr., 23, 24; paves choir at Windsor, 93, 94 Clothworkers' Hall, Pepys dines at, 3 Concerts, first public in Lon- don, 46 Cooke, Captain Henry, 26 Coranto, 32 Corelli, 35 ; mentioned by Pepys' nephew, 120 Coronation of Charles II., Lawes' music for, 24 "Cuckolds all awry," 32; tune, 34 Dartmouth, Lord, thanks Pepys for services at Tan- gier, 115 Davenant, Sir W.'s opera, 3 Descartes' Musicce Compen- dium^ 55 ; Pepys' opinion of, 98 23 INDEX Draghi, G. B.'s opera, 55; organist to the Queen, 56 Dryden and Grabu, 51, 53; and Purcell, 54 Dulcimer, the, 80 Evelyn, on Berkenshaw's rule, 9 ; on Draghi, 56 ; on Pepys' death, 120 Fancy, the, 33 Father Smith, the King's organ-maker, 29 Ferrabosco, Alphonso, 69 Flageolet, the, 84 ; facsimile of music for, 86; double flageo- let, 87 French music favoured by Charles II., 26 " Gaze not on Swans " finished, 9 Gibbons, Christopher, 32; recommended to Vice-Chan- cellor of Oxford in letter from Charles II., 36 Gibbons, Orlando, 35 Goodgroome, Mrs. Pepys' singing-master, 8 ; teaches Pepys to sing, 64 Gotier, teacher of singing, 83 Grabu or Grebus, 28, 41, 54; master of King's English chamber music, 42 ; *' Med- way and Isis," 54 Grand Chant, the, 30 " Great, good, and just." 62 Green Dragon, the, 10 "Green Sleeves," 15; tune from " The Dancing-Mas- ter," 15 Greeting's " Flagelet-Tutor," 84 Gresham College, 76 Guitar, the King's, 78 Hague, The, Pepys journeys to, 4 "Hail to the Myrtill Shades," and facsimile, from Greet- ing's "Flagelet-Tutor," 86 Half-Moon Tavern, the, 10 Hamlet and the recorders, 88 Herrick, poem to Lawes, 83 Hill, Mr., instrument maker, 77 Humfrey, Pelham, 26 <' It is Decree'd," 102; Mr. Hingston's base to, 104 JoNsoN, Ben, verses to Ferra- bosco, 69 Ken, Dr., accompanies Pepys to Tangier, 117 Killigrew, T., and opera, 55 " King Arthur," Purcell's, 54 King's Band, the, established, 35 ; and Banister, 42; wages of, 104 King's select band of tvi^elve, established, 39 King's House Theatre, the, 7 Lambeth Hill, 10 Laniere, N., 57 124 INDEX Laniere, W., 57 Lauderdale, Lord, hates music, 91 Lawes, Henry, 18 ; "The Royal Slave," 18 ; connected with"Comus,"i9; composes " Tavola," 21; Orpheus' hymn, 24 ; " Helpe, helpe," 71 ; death, 23 Lawes, William, 25 ; siege of Chester, 25 Levett, a, 79 Lock, Matthew, meets Pepys, 14; his Kyrie, 17 LuUy, 27 Marshall, Becke, 7 Master of the Music, the, 45 Mercer taught to sing, i Mersenne's treatise, Pepys' opinion of, 98 Milton and Lawes, 19, 20 Morelli, 106 seq. ; letter to Pepys proposing a cure, no; and James II. 's choir, 112 Morley's " Introduction to Musique," Pepys' opinion, 95 North, Mr., plays well at first sight, 10 North, Roger, quoted, 15, 47 ; and Morelli, 112 Organ, at Whitehall, 29 ; at Hackney, at Dean of West- minster's lodgings, at The Hague, at Rochester Cathe- dral, 91 Otacousticon, the, 97 Parry, Sir Hubert, quoted, 20 Pedro, Seignor, 59 Pepys, Samuel, fears to give too much time to music, II ; criticises elaborate vocal music, 50 ; never lived so merrily as in plague-time, 58 ; on weekly music-meet- ings, 60 ; sings in Chapel Royal, 62 ; forced to com- mend bad singing, 65 ; on church-offertories, 66 ; learns to trill, (i() ; examines his servants inmusic, 73 ; thinks he can invent a better theory of music, 96; at Royal Society, subscribes towards building a college, 97 ; dis- cusses acoustics, 97 ; ob- jects to consecutive octaves in composition, 104; com- mitted to the Tower, 108 ; character defended, 114 Pepys, Mrs., taught to sing, 6 ; learns the flageolet, 8 Petition of King's Band re Banister, 42 ; answer to ditto, 46 Playford's "Introduction to Musique," Pepys' opinion, 95 Porter's mottets, 68 25 INDEX Prescriptions for Pepys' ope- ration, 63 Purcell, tlie elder, 13 Purcell, Captain, 13 Purcell, Henry, 14; "Sweet Tyranness," 24; "King Arthur," 54 ; " Amphi- tryon," 54 Recorder, the, 87 Royal Society, the, 97 Salmon, Mr., controversy with Lock, 17 Sandwich, Lord, plays a good Fancy, 32 St. George's Windsor, Pepys praises the choir, 92 St. Paul's, Pepys criticises the choir, 92 " Sweet Tyranness," 24 Tangier, Pepys on his duties at, 113 ; his opinion of, 113 " Tavola," 21 ; English trans- lation, 22 Theatre, position of band in, 5 Trumpet-marine, 80 ; men- tioned by Moliere, 82 Tryangle, the, 12 Turner, Betty, her singing criticised, 7 Virgin Martyr, the, 7 Virginal, the, 82 Waller and Lawes, 20 Welsh harp, the, 10 Westminster Abbey choir, Pepys sings with them their service, 92 Wind-music, effect on Pepys, 7 Printed by Ballantvne, Hanson &= Co. 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