'*
 
 New Shakspere Society. 
 
 SI-:KIKS \\\\. MISCKLLAMKS, No. 4. 
 
 CRITICAL AND HISTORICAL PROGRAM 
 
 afovipls, >Irrs, anir Songs 
 
 s AT 
 
 Srconti Annual fHusiral Entertainment 
 
 UNIVERSITY COLLEGE, LONDON, 
 
 FRIDAY, 9111 MAY, 1884. 
 
 REVISED EDIT A 
 
 I'l I'-l.ISHT I 
 
 Sijafesprrc Soctctu 
 BY X. TRC'BXEK & CO., 57, 59, LUnciATK J1ILI. 
 
 i.< i\l)( IN, !'.('.. i8i .
 
 follofomg SttWi&tiOflS of tljr Xew Shakspere Society ftafjc bent fssucti 
 
 - Far 1874 : 
 Series I. Tr< . 1. Part I, containing 4 Papers, editions of the genuine part- 
 
 Pericles, and details of that of //</// ]'l I [, & 
 Series II. P/n;/.-: The 15U7 and 1 ">',)',) Oiiaito- of /,' Jtil let, in a. simple Iv'eprin; 
 
 Parallel Texts, by P. A. Daniel. by lIH.lt. Prince Leopold, Duke of Albany}. 
 
 Series IV. - 1. Part I. 1592-8 A.D. (Gr orth' of V, 
 
 Chettle's ' Kind-Harts Dreame,' 1503; iiv. - from Meres's .PaW< 
 
 ed. C. M. Inylehy, LL.l). 
 
 7^,- 1875 : 
 Series I. Transactions, 2, 3. 1871, Part TI ; IS 75-0, Part I, Containing Papers by the 1:< 
 
 Simpson, and Spedding, and l>y Profs. Ingrain and Delias. Arc., with Keports of Discussions. 
 Series II. Plays. -1. A revisd Edition of the second, or 1509. Quarto of Romeo and Julirt. 
 
 collated with the other Quartos and the Folios ; edited by P. A. Daniel. Esq., with Not. 
 5, G. Henri/ V, a. Keprint.3 of the (Quarto and Folio, edited by Dr Bi -m. 
 
 Series III. Originals and Analogues. 1. Part I. a. The Tragicall Historye of Romeus and Juliet, 
 
 written first in Italian, by Bandell, and no\ve in Englishe by Ar[thur] Br[ooke], 1562 ; 
 
 edited by P. A. Daniel, Esq. b. The goodly hystory of the true and constant lor. 
 
 lihomeo and Julietta ; from Painter's Palace of Pleasure, 1567 ; edited by P. A. Daniel, Esq. 
 
 For 1876 : 
 Series II. Plays. 7, 8. The Two Noble Kinsmen, by Shakspere and Fletcher ; a. A Beprint c 
 
 Quarto of 1031 ; b. a revisd Edition, vich Notes, by Harold Littledale, Esq., B.A., Trinity 
 
 College, Dublin. (The latter presented //// Richard Johnson. Esq.) 
 Series VI. 2. a. Tell-Trothes New-yeares Gift. 1593, with The passionate Morrice. b. John I 
 
 Tom Tel-Troths message, and his Pens Complaint, 1000. c. Thomas Powell' 
 
 or the Plaine Pathway to Preferment, 1631. d. The Glasse of Godly Loue, [1569]. 
 
 seated bit 3 Members of the Society.) Edited by F. J. Furnivall, M.A. 
 
 .".. William Stafford's E.^iiiiinithn of certeyne C<nni>l<i/iil in / 31; ed. F. 
 
 D. ^latthew and F. J. Furnivall. (Presented by tin- Jlf. H,t. tin- End of Deri 
 
 4. Phillip .Stubbcs's A, f Abuses, 1 May, 1.~>S3 ; Part I, 1 : ed. F. .1. Fuvnivall. 
 
 Series VIII. JftwU/atinn. 1. Prof. Spalding on 77i nble Kinsmen, and ti 
 
 SH.M- ryle (1833). With ^Memoir by Dr Hill Burton, and Forewords by F. J. Furnivall. 
 
 For 1877 : 
 Series I. Transactions. 4. Part II. for 1875-6. containing Papers by Prof. Delius. Miss J. Lee. 
 
 Time-Analyses of the Merchant of I '-rllu. Aic., 13rutus's and Ant 
 
 Ca'sar's corpse, from the Englisht Ap/>in's Chronicle, &c. 
 Series II. Plays. 9. Henry V, Parallel-Texts of the First Quarto (1600) and First Folio (K>2:! j 
 
 editions, edited by Brinsley Nicholson. M.D., with an Introduction by P. A. Daniel, 1. 
 Series VI. Shakspere' s England. 1. William Harrison's Description of England , 1577. 15s7. t 
 
 from its two versions by Fredk. J. Furnivall, M.A. Part I, with an eidar^d copy of 
 
 Xorden's Map of London by van den Keere. 1593. and Xotes on it bv H. B. Wheatlev. EM,. 
 
 For 1878 : 
 
 Series I. Transactions. 5. Part I. for 1S77-9. containing Papers by Mr Spedding, Mr ; 
 Series VI. tiJ/<.i/c.</>f>re'.-< Einjluii'L 5. William Harrison's Description of ~ England, 1577, 1567, 1 
 
 with Maps and Engravings, ed. by F. J. Furnivall. M.A. 
 Series VIII. Miscellanies. 2. liobert Chester's Love's Martyr, 1601, in which Shakspch 
 
 on the ' Phoenix and Turtle' were first publisht, edited by the liev. A. B. Grosart, LL.D. 
 
 For 1879 : 
 
 Series I. Transactions. 6. Part II. for 1877-9. Mr Daniel's Time-Analyses of Shakspere's Plots. 
 Series IV. Allusion-Books. 2. SJinkxprre's Ccnhirie of Praise, the 2nd edition, by C. M. Ingleby. 
 
 LFj. D., and Miss L. Toulmin Smith. (Presented mainly by Dr Ingleby.} 
 Series VI. (!. Stubbes's Anatomic of Abuses (in Dress X* Manners). Part 1. Section 2. with extracts 
 
 from his Life of his Wife, 1591, and other Works. with many woodcuts: ed. F. J. Furnivall, M.A. 
 
 Fw 1880: 
 
 Series I. Transactions. 7. Part III. for 1S77-9, Papers by Miss Phipson. Mr Kuskin. A 
 Series II. Plays. 10. Henry T : c. a revisd edition of the Play, by Walter G. Stone. Esq. 
 Series VI. Shnkspercs England. 7. The liogues and A'agabonds of S'nakspere's Youth, ed. by 
 
 F. Viles and F. J. Furnivall. (Presented hi/ Mr Furnivall.) 
 
 Far 1881: 
 
 Series I. Transactions. 8. Part I. for 1SSO-2. Papers by Dr B. Nicholson. Dr Tanger, >: 
 Series VI. &}/>//,/>> />' Ei/>/!<in<l. S. Harrison's 1 >< xrr/i>/i<i,/ nf Eit<jl<iil, 1577, 15,^7. Part 1 1 1. 
 
 with Engravings, and a Paper on Elizabethan I! , W. Nivcn ; ed. F. J. Furnivall.
 
 NEW SHAKSPERE SOCIETY. 
 
 CRITICAL AND HISTORICAL PROGRAM 
 
 OF THE 
 
 ftjje Secontr Annual Jlustcal Entertainment 
 
 UNIVERSITY COLLEGE, LONDON, 
 
 ON 
 
 FRIDAY, QTH MAY, 1884, AT 8 P.M. 
 
 REVISED EDITION. 
 
 PUBLISHT FOR 
 
 Nefo Sfjafcspere 
 
 BY N. TRUBNER & CO., 57, 59, LUDGATE HILL, 
 LONDON, 1884.
 
 CONTENTS. 
 
 First Period : Early Contrapuntal 
 Second Period : Late Contrapuntal 
 Third Period : Early Harmonic 
 Fourth Period : Late Harmonic 
 
 Page 3 
 ,, 7 
 10 
 17
 
 LlflttAttf 
 
 UNIVERSITY OF CALf!*0it 
 SANTA BARBARA 
 
 WL 
 80 
 
 FIRST PERIOD. EARLY CONTRAPUNTAL. 
 
 TO MIDDLE OP SEVENTEENTH CENTUBY. 
 
 THE vocal pieces which are included in this program are 
 arranged not in strict chronological order, but so as to illustrate, 
 to some extent, the artistic development of the different schools 
 of music. As illustrations, however, they cannot all be con- 
 sidered typical and complete. Shakspere music forms but a small 
 part of music in general, the great composers having usually been 
 satisfied with texts of inferior literary value. English musicians, 
 indeed, have not neglected the capabilities of our best poetry ; but 
 then English music is not a very important element in European 
 art. Our composers have seldom exercised much influence abroad ; 
 while they, on the other hand, have often been indebted to conti- 
 nental masters. It is true that in the Tudor times England pro- 
 duced a native and original school of music, but this school does not 
 present many peculiarly English features. Distinctions of national 
 style could not become marked until a more advanced period in 
 the history of composition had been reached. 
 
 At the Renascence almost every species of art had already 
 acquired elaborate technical resources, and was capable of express- 
 ing the energetic thought and vivid feeling of that creative time. 
 Music alone was in a backward state. It did not possess the material 
 means of raising itself to the level of other arts. The form of the 
 scale was still unsettled ; few appropriate and connected successions 
 of chords had been discovered; key-relationship and modulation 
 were only half understood ; and instrumental accompaniment was 
 in its infancy. In part-music the treatment of the voices was
 
 4 FIRST PERIOD. EARLY CONTRAPUNTAL. ITS CHARACTERISTICS. 
 
 contrapuntal : /. e. each part was of equal importance in producing 
 the general effect, but was not always of a melodious character if 
 taken separately. The absence of marked accent and definite phrase 
 often causes the rhythm of the old contrapuntists to appear vague 
 to modern ears. Imitation was the chief structural principle, and 
 was worked out in many species of fugue and canon, the different 
 voices taking up the same theme one after the other, in different 
 parts of the scale, so that the latter portion of the theme often 
 formed a harmony to the beginning. The forms of composition 
 were comparatively few and rudimentary, Church music being 
 usually founded on the pattern of the motet, poetic on that of the 
 madrigal. Extended pieces, whether solo or concerted, vocal or 
 instrumental, were as yet unthought of. 
 
 The graphic means then at the musician's disposal were very 
 defective. Till the middle of the seventeenth century, barring was 
 not usual in English music, and the text often did not show even 
 where accidental flats, naturals, and sharps were to be used. All 
 these the singer had to supply mentally according to traditional 
 rules. Indications of speed, loudness, phrasing, style, and expression, 
 were likewise absent. 
 
 These difficulties have not prevented modern musicians from 
 appreciating the esthetic value of the early school, its sustained 
 style of grandeur and pathos, its liturgical solemnity. Sacred 
 themes engrossed the best talents of a large number of English 
 composers ; and as the Church was then the only school of technical 
 music, its style pervaded other branches of the art, where subjects 
 of purely poetic interest were dealt with. Many of the cathedral 
 services and anthems of Tallis, Farrant, Byrd, Bull, and Orlando 
 Gibbons are still kept alive by their merits ; while only a few of the 
 songs and madrigals of Ward, Wilbye, and Weelkes are now sung, 
 except for their historical value. 
 
 But while the learned musicians had been laboring at heavy 
 counterpoint, the natural, untrained genius of the people gave 
 rise to an endless number of gay dance-tunes and expressive 
 songs. Something of this gift of melodious invention appears in 
 the works of Dowland, Ford, and Morley. But the union between
 
 FIRST PERIOD. THOMAS WEELKES AND THOMAS MORLEY. 5 
 
 the popular and the technical elements was hardly accomplished 
 till the eighteenth century, when every available form of dance 
 tune was eagerly caught up by composers, and worked into the 
 Suite, from which sprang the great designs of later instrumental 
 music. 
 
 1. MADRIGAL. 3En blnrkc morne 3E. Passionate Pilgrim, xvl b. 
 
 By THOMAS WEELKES. 
 
 The date of this composer's birth and that of his death are 
 unknown. In 1600 he was organist of Winchester College, and in 
 1608 organist of Chichesler Cathedral. In 1597 he published 
 three sets of madrigals, of which the second begins our program. 
 The words are taken from the Passionate Pilgrim, a collection of 
 poems published by one laggard, with Shakspere's name as author ; 
 though most of them, including nos. i, 17, and 18 in the present 
 program, were by other writers. 
 
 Weelkes composed two more sets of madrigals between 1597 
 and 1608. 
 
 This madrigal is a good example of the style, being full of in- 
 genious contrapuntal imitation. The omission of the Third in several 
 chords, and the use of the triad of Eb in the key of F, are noteworthy. 
 
 The derivation of the word madrigal has been much disputed. 
 Passing by the conjectures of unscientific writers, it will be enough 
 to quote the opinion of Diez (diits). He gives an earlier form of 
 the word as mandriale, and considers that it is 'not improbably' 
 descended from Latin mandra, a flock, or a shepherd's song. 
 
 2. SONG. Et teas a loner anil his Ias0. As You Like It, V. iii. 
 
 By THOMAS MORLEY; born about 1550, died 1604. 
 
 In 1591 he was organist of S. Paul's Cathedral, and in 1592 
 Gentleman of the Chapel Royal. His compositions were more 
 melodious than those of most of his predecessors, and many of his 
 madrigals and 'ballets' have obtained lasting popularity. This 
 song, no. 2, was printed in ' The first book of ayres or little songs 
 to play on the lute,' 1600. A copy in MS. of at least as early a 
 date is preserved in the Advocate's Library, Edinburgh.
 
 6 FIRST PERIOD. R. JOHNSON. SECOND PERIOD. PURITAN INFLUENCE. 
 
 3. HARMONIZED AYRE. Jfull fabom fi'lte. Tempest^ I. ii. 
 By ROBERT JOHNSON. 
 Arranged for three voices by Dr. John Wilson. 
 
 Robert Johnson, in 1573-4, was a retainer in the household 
 of Sir Thomas Kytson of Hengrave Hall, Suffolk. He afterwards 
 moved to London, and became a composer for the theatres. In 161 1 
 he was in the service of Prince Henry, eldest son of James I., at 
 an annual salary of ^40. In 1612 he composed music for The 
 Tempest, from which we take ' Full fathom five,' afterwards arranged 
 for three voices by Dr. John Wilson (born 1597, died 1673). 
 
 A special interest attaches to the first three pieces in our 
 program, as they were all composed in Shakspere's life-time. 
 Dr. Burney, indeed, does not attribute the melody of ' Full fathom 
 five ' to Robert Johnson, but considers the whole to be the compo- 
 sition of Dr. Wilson. But in Wilson's work, 'Cheerful Ayres or 
 Ballads, first composed for single voice, and since set for three 
 voices,' it is printed under Johnson's name. Wilson's statement 
 that 'some few of these ayres were originally composed by those 
 whose names are affixed to them, but are here placed as being new 
 set by the author of this work,' appears to mean that he did not 
 invent the melody, but only harmonized one already existing. The 
 use of the word set in this sense is peculiar, and may easily have 
 misled Burney. See Roffe's ' Handbook of Shakspere Music.' 
 
 SECOND PERIOD. LATE CONTRAPUNTAL. 
 
 PROM MIDDLE OP SEVENTEENTH TO MIDDLE OP EIGHTEENTH 
 CENTURY. 
 
 THE influence of the Puritans, though unfavorable, was not 
 fatal to English music. The quires were dispersed, the training of 
 singers and players interrupted, cathedral scores lost, and organs 
 destroyed ; yet private cultivation did not cease, and there was no 
 break in the history of composition. Many who had been brought 
 up in the traditions of the early school, were able to resume the
 
 SECOND PERIOD. EVELYN. STYLE OF THE RESTORATION. 7 
 
 exercise of their art on the fall of the Commonwealth. Among 
 these were Henry Lawes, Christopher Gibbons, William Child, 
 John Jenkins, and Benjamin Rogers, whose lives extended through 
 the greater part of the seventeenth century. But with Charles II 
 a new taste came in, which transformed first the style of perform- 
 ance and then that of composition. Evelyn thus describes the 
 service at the Chapel Royal on Dec. 21, 1663 : 
 
 ' One of his Majesty's Chaplains preached ; after which, instead 
 of the ancient, grave, and solemn wind-music accompanying the organ, 
 was introduced a concert of twenty-four violins between every pause, 
 after the French fantastical, light way, better suiting a tavern or play 
 house than a church. This was the first time of change, and now 
 we no more heard the cornet which gave life to the organ ; that 
 instrument quite left off in which the English were so skilful ! ' 
 
 Of the older composers Henry Lawes was the most successful 
 in adopting the new style. But he, like the rest, had soon to give 
 place to the rising talent of Pelham Humfrey, Michael Wise, and 
 John Blow, choristers in the Chapel Royal. Humfrey was sent by 
 the King to study in Italy and France. On his return he brought 
 an important element into English music, viz. declamatory power. 
 The forcible expression of the words, the careful observance of 
 quantity and stress, and the discovery of dramatic effects in pro- 
 gressions and modulations, fascinated and absorbed this fresh and 
 vigorous school. Their productive time was destined soon to end, 
 for Humfrey died in 1674, and Purcell, who imitated and excelled 
 him, died in 1695. Each showed, even in a short career, remark- 
 able creative powers, attended of course with some defects as 
 regards continuity and design, since these qualities are usually 
 absent at the beginning of a new aera in music, and only reappear 
 when the style arrives at maturity. This stage the English school 
 did not reach in the later contrapuntal period. Purcell left no equal, 
 and the prospects of native music were not improved by the intro- 
 duction of Italian opera, and the advent of Haendel. This composer 
 almost fills up the musical history of England till the middle of the 
 eighteenth century. In his oratorios the contrapuntal style received 
 its highest development, the most artificial devices of imitation 
 being used with admirable effect in many styles, epic, lyric, and
 
 8 SECOND PERIOD. LATE CONTRAPUNTAL. BANISTER. HUMFREY. 
 
 dramatic. Many of Milton's finest passages form the foundation 
 of his works. We must regret that he was not also attracted to 
 Shakspere. 
 
 4. SONG. Came bnttf the0e seliato 0anfc0. Tempest, I. ii. 
 
 By JOHN BANISTER; born 1630; died 1679. 
 
 His father, one of the waitts of the parish of S. Giles-in-the- 
 Field, was his instructor in the rudiments of music. Having be- 
 come a good violinist, he was sent by the 'King to France, and in 
 1663 was appointed 'chief of his Majesty's violins.' It is said 
 that he was dismissed from this post for saying, in the King's 
 hearing, that the English violinists were superior to the French. 
 He gave afternoon concerts at his house in White Friars every day 
 during the last seven years of his life. He was buried in the 
 cloisters of Westminster Abbey. A MS. copy of the ist act of 
 Banister's music to 'Circe,' a tragedy, performed in 1676, is still 
 preserved. In the same year was also performed Banister's and 
 Pelham Humfrey's setting of the Tempest, from which the above 
 song is taken. 
 
 5. SONG, ffithm the bee 0ttrh0. Tempest, V. i. 
 
 By PELHAM HUMFREY; born 1647; died 1674. 
 
 He was one of the Children of the Chapel Royal, re-established 
 at the Restoration. His talent for composition was early displayed, 
 and when about 17 years of age, he was sent by Charles II. to the 
 Continent to study the new style of music brought in by Carissimi 
 and Lulli. During his travels, which lasted three years, he received 
 450 from the Secret Service fund. We find the following descrip- 
 tion of Humfrey on his return, in the diary of Mr. Samuel Pepys : 
 
 i5th Nov. 1667 ..... 'Home, and there find, as I expected, 
 Mr. Caesar and little Pelham Humfrey, lately returned from France, 
 and is an absolute Monsieur, as full of form and confidence and 
 vanity, and disparages everything and everybody's skill but his own. 
 But to hear how he laughs at all the King's musick here, as Blagrave 
 [Gentleman of the Chapel of Charles II.] and others, that they 
 cannot keep time nor tune, nor understand anything; and that 
 Grebus the Frenchman, the King's master of the musick, [= Louis 
 Grabu, defined in Grove's Dictionary as an ' impudent pretender ']
 
 SECOND PERIOD. PELHAM HUMFREY DESCRIBED BY PEPYS. 9 
 
 how he understands nothing, nor can play on any instrument, and 
 so cannot compose : and that he will give him a lift out of his 
 place, and that he and the King are mighty great ! I had a good 
 dinner for them, as a venison pasty and some fowl, and after dinner 
 we did play, he on the theorbo, Mr. Caesar on his French lute, and 
 I on the viol, and I see that this Frenchman do so much wonders 
 on the theorbo, that without question he is a good musician, but 
 his vanity do offend me.' 
 
 Humfrey was appointed ' Master of the Children,' and ' Com- 
 poser in Ordinary for the Violins to his Majesty' in 1672. He 
 died two years later, aged 27, and was buried in the cloisters of 
 Westminster Abbey. 
 
 His works consist mostly of anthems and songs. 
 
 THIRD PERIOD. EARLY HARMONIC. 
 
 SECOND HALF OF EIGHTEENTH AND BEGINNING OF NINETEENTH 
 
 CENTURY. 
 
 THE periods of musical history cannot be defined exactly by 
 dates. Before the contrapuntal style had even reached perfection, 
 another style, the harmonic, began to appear ; and when the latter 
 became predominant the former did not die out, but has lasted, in 
 certain branches of the art, down to our own time. Although the 
 different schools overlap in this way, there is a marked distinction 
 between the style characteristic of the earlier part of the eighteenth 
 century, and that which afterwards prevailed. 
 
 The change was connected with the rise of the great solo singers 
 and solo violinists, who then appeared in many countries, but 
 principally in Italy. Their powers could not be exhibited to 
 advantage in contrapuntal music, for this was essentially a choral 
 style, without contrast or variety between one vocal part and 
 another. The melodic interest now became concentrated in a 
 single part, to which the rest merely supplied a harmony. In this 
 way the prominence of the soloist was secured ; and a style of melody 
 far more brilliant and ornate than any previously known, came into 
 fashion.
 
 10 THIRD PERIOD. EARLY HARMONIC. ITS CHARACTERISTICS. 
 
 The growth of instrumental accompaniment also helped forward 
 the new school. In the contrapuntal system, the different capabili- 
 ties and resources of the various orchestral instruments were but 
 slightly studied or utilized. The same kind of treatment was 
 applied to the accompaniment as to the voice, although many 
 passages, too difficult to be sung, might be safely assigned to the 
 violin and oboe; while, on the other hand, the trumpet and horn 
 were not at all adapted for playing contrapuntal themes, but chiefly 
 for sustaining single notes in the harmony. Thus a complete trans- 
 formation was brought about, when composers began to discover 
 the endless effects of ornament and expression which could be 
 obtained from orchestral coloring. 
 
 It is unfortunate that there is no accurate and popular name 
 for the style of music that succeeded counterpoint. The terms 
 ' Homophonic ' and ' Monodic,' besides being pedantic, are incor- 
 rect, as they imply that the new compositions were all in unison, 
 or for a single voice. To speak of counterpoint as ' Strict,' and the 
 new style as ' Free,' is equally inappropriate. Every rising composer 
 is supposed to violat3 rules, until his methods are understood and 
 systematically defined. The name ' Massive,' again, is often opposed 
 to ' Contrapuntal,' because the harmony was now arranged in pro- 
 longed masses supporting the melody, instead of incessantly chang- 
 ing with the movement of each voice. But this name, as well as 
 that of ' Harmonic,' which we here employ as the most familiar, is 
 inaccurate if it leads to the supposition that the contrapuntal period 
 was distinguished by solos and not by part-music. The contrary 
 was the case. 
 
 The most suitable names yet found for the two styles are ' Hori- 
 zontal ' and ' Vertical.' The contrapuntist regards music as an 
 affair of themes; he fixes on the subject and counters ubject before- 
 hand, and only uses such chords as can arise from their combination. 
 The harmonist starts with the conception of 'chords ; often he takes 
 a chord in arpeggio as theme, and gives the accompanying parts 
 only as much melody as is compatible with the harmony he 
 has designed. However, it is not yet usual to talk of the ' hori-
 
 THIRD PERIOD. MELODY ACCOMPANIED BY HARMONY. II 
 
 zontal ' and 'vertical ' styles in music, though every one knows the 
 ' perpendicular ' style in architecture. 
 
 The treatment of Form also underwent a great change at this 
 time. In counterpoint, variety was obtained chiefly by making one 
 part imitate another at a greater or a less distance of time, or in 
 notes of twice or half the length. Often the theme was treated first 
 direct and then inverted, moving down where it had formerly moved 
 up, and conversely. Again it might be reversed, the end being 
 taken as a beginning. Mechanical devices like these could be 
 carried out by a deaf-mute, provided that he could read and write. 
 When the contrapuntists, while obeying these rules, succeeded in 
 producing music that the world cared to hear, it was not by reason 
 of their training. 
 
 The new structural principle was that of Variation. At each 
 repetition, new ornament was added to the theme, or the harmony 
 was changed, or one particular phrase was taken as a suggestion for 
 a long development through many keys. In this way arose what is 
 called the ' Sonata form,' which, however, only applies to the first 
 movement of the Sonata, Quartet, Symphony, &c. The opening 
 theme is soon followed by a second and contrasting theme. Then 
 both are varied or 'developed' in the 'free fantasia.' Next the 
 first two themes reappear, and lastly comes the 'coda.' Between 
 each of the main features, episodes were usually introduced. The 
 analogy of this procedure with that of oratory and poetry, has often 
 been pointed out. 
 
 The Early Harmonic period is sometimes called, in the restricted 
 sense, ' Classical.' It was the period when most of the designs of 
 pure music, such as the Symphony, Concerto, Overture, became 
 recognizable. The best works of that time are distinguished to 
 modern ears by moderation, sanity, and perfection within limits : 
 the inferior works have no worse quality than florid conventionality ; 
 all well-known characteristics of ' Classical ' art. 
 
 Since the decay of the Madrigal style in the first quarter of the 
 seventeenth century, no form of poetic part-music for unaccompanied 
 voices was cultivated in England till the beginning of the eighteenth
 
 12 THIRD PERIOD. EARLY HARMONIC. THE GLEE. DR. ARNE. 
 
 century, when the ' Glee ' arose. The characteristic of the Glee is 
 the succession of several short melodies, often in different keys and 
 different metres, never contrapuntally treated, but only harmonized 
 in the modern manner. These repeated changes often produce a 
 disconnected impression, which, in comparison with the later contra- 
 puntal music, must have made the Glee appear a rather rudimentary 
 style of art. The best effects in this form of composition are 
 obtained by sustained or contrasted chords, always beautiful when 
 rendered by well-trained and unaccompanied voices. The Madrigal, 
 on the other hand, was founded on a few themes elaborately com- 
 bined in imitation, making little use of the progression known as the 
 ' perfect cadence,' and being generally independent of modern ideas 
 of harmony. 
 
 The Glee style was founded and most successfully practised by 
 Samuel Webbe, who gained twenty-seven prizes for his works. 
 Other writers of Glees were Stevens, Calcott, Horsley, Attwood, 
 Battishill, Cooke, Lord Mornington, Spofforth, Stafford Smith, and 
 Sir Henry Bishop. 
 
 6. SONG. $|U0to, Moto, thott tointer toittbe. As You Like It, II. vii. 
 
 7. SONG. SJEheit fcasie0 piefc. Love's Labour's Lost, V. ii. 
 
 8. SONG, Briber the green* toxwfo int. As You Like It, II. v. 
 
 By THOMAS AUGUSTUS ARNE; born 1710, died 1778. 
 
 Arne was intended by his father for the profession of the law, 
 and on leaving Eton College was placed in a solicitor's office for 
 three years. But his love for music prevailed, and instead of 
 applying himself to legal studies, he secretly conveyed a spinet to 
 his bed -room, and by muffling the strings with a handkerchief, 
 contrived to practise during the night undetected. 
 
 He took lessons on the violin from Festing, and would occa- 
 sionally borrow a livery in order to gain admission to the servants' 
 gallery at the opera. He made such progress as to be able to lead 
 a chamber band at the house of an amateur, who gave private con- 
 certs. There he was accidentally discovered by his father, who 
 made fruitless efforts to induce him to become a lawyer, but at
 
 THIRD PERIOD: EARLY HARMONIC. JOHN CHRISTOPHER SMITH. 13 
 
 last gave up the attempt. Being free to practise openly, he 
 charmed the whole family by his skill on the violin. 
 
 In 1738 he established his reputation as a lyric composer by 
 the capital manner in which he set Milton's ' Comus.' In this he 
 introduced a light, original, and pleasing melody, different from 
 that of Purcell or of Haendel, whom all English composers had 
 hitherto either borrowed from or imitated. Till a more modern 
 Italian style was introduced in the pasticcio English operas of Bicker- 
 staff and Cumberland, Arne's melody was the standard of all per- 
 fection at our theatres and public gardens. (See Burney's ' History,' 
 vol. iv. p. 659, &c.) Arne composed music to some verses called 
 ' Rule Britannia,' written by a Scotchman, Thomas Campbell. In 
 1746 he set several of Shakspere's songs, from which we select 
 the above. 
 
 On July 6, 1759, the University of Oxford created Arne a Doctor 
 of Music. He was the first who introduced female voices into 
 oratorio choruses. This he did at Covent Garden Theatre, Feb. 
 26, 1773, in a work of his own, Judith. Five years later he died, at 
 the age of sixty-eight 
 
 9. SONG. Jfttll faiom fftte. Tempest, I. il 
 
 By JOHN CHRISTOPHER SMITH; born 1712, died 1795. 
 
 His father, a German named Schmidt, acted as Hsendel's treasurer. 
 He himself was HsendePs amanuensis during the blindness of the 
 great composer. Smith's style often resembles that of his master, 
 but in the present song it belongs to the more modern harmonic 
 period. He composed two Shaksperian Operas, 'The Tempest,' 
 and ' The Fairies,' which is the Midsummer Nighfs Dream alterd. 
 
 The compositions of Christopher Smith and Purcell have some- 
 times been confounded : for instance, in an arrangement by Loder 
 of Smith's ' Full fathom five,' Purcell's chorus has been added 
 without any remark as to the real authorship ; while Smith's ' No 
 more dams,' has been twice reprinted with the name of Purcell 
 attached to it. Dr. Clarke in his ' Beauties of Purcell ' has made 
 this mistake.
 
 14 THIRD PERIOD. STEVENS. VERNON. HOOK. DR. COOKE. 
 
 10. GLEE, ^he rlotob rapt totore0. Tempest, I. ii. 
 
 By RICHARD JAMES SAMUEL STEVENS; born about 1753, died 
 
 1837- 
 
 Stevens was a Londoner, and was educated in St. Paul's 
 Cathedral. His first appointment was as organist to the Temple 
 Church. In 1795 he became organist of the Charter House, and in 
 1 80 1 was elected Professor of Music at Gresham College. His 
 glees speedily obtained public favor, and have retained it till 
 now. 'English Cyclopaedia,' vol. v. p. 718. 
 
 n. SONG. SHlten that 3 toatf artb a little tine hxrp. Twelfth 
 
 Night, V. i. 
 By J. VERNON. 
 
 William Linley in his ' Dramatic Songs of Shakspere ' attributes 
 this song to Fielding, but Dr. Rimbault states that it was really 
 composed by J. Vernon, a well-known tenor singer at the theatres 
 and concerts, about 1760 80. 
 
 1 2. GLEE, 'Cell me tohere is f auric breb. Merchant of Venice, 
 
 III. ii. 
 By R. J. S. STEVENS. (See above, no. 10.) 
 
 13. SONG. SBUlmwjh S<mg. Othello, IV. iii. 
 
 By JAMES HOOK ; born at Norwich 1746, died at Boulogne 1827. 
 
 He was for many years organist of S. John's, Horseley Down. 
 From 1774 to 1820 he was organist and composer at Vauxhall 
 Gardens, and wrote a large number of glees, catches, and songs. 
 He published an oratorio, the 'Ascension,' in 1776. His 'Lass 
 of Richmond Hill,' "Twas within a mile,' and 'A little farm 
 well tilled,' continue to be popular ; and many of his other pieces, 
 such as ' Sweet Lilies of the Valley,' ' The Maid of the Green,' 
 only require to be revived to gain equal favor. 
 
 14. GLEE, |pearke, hearke, the larke. Cymbeline, II. iii. 
 By DR. BENJAMIN COOKE; born 1734, died 1793. 
 
 At twelve years of age he became deputy-organist of Westminster 
 Abbey, in 1757 was appointed master of the choristers there, in
 
 THIRD PERIOD. C. E. HORN. SIR HENRY BISHOP. 15 
 
 1758 lay vicar, and in 1762 organist of the Abbey. In 1775 ^ ie 
 passed as Doctor of Music at Cambridge, and in 1782 was admitted 
 to the same degree at Oxford. Dr. Cooke's compositions, which 
 are voluminous, are for the Church, concert-room, and chamber. 
 The works by which he is best known, and which will hand down his 
 name to posterity, are his numerous and beautiful glees and canons, 
 for seven of which he gained prizes. Apart from his eminence as 
 a practical musician, Dr. Cooke was one of the most learned 
 theorists of his time. He died September i4th, 1793, and was 
 buried in the cloisters of Westminster Abbey, where a mural 
 tablet recounts his merits and exhibits one of his canons in three 
 parts by ' augmentation ' and ' diminution.' 
 
 15. DUET. 3E knoto a banke. Midsummer Nighfs Dream, II. ii. 
 By CHARLES EDWARD HORN ; born 1786, died 1849. 
 
 Horn was a singer. His voice was poor, but of such extensive 
 compass that he was able to take baritone as well as tenor parts. He 
 also displayed considerable ability as an actor. He composed many 
 small operas, in which some of the songs remain popular to the 
 present time; as, for instance, 'Cherry ripe !' 'I've been roam- 
 ing,' and ' Thro' the wood.' 
 
 1 6. SONG. <Sh0ulb he ttpbraib. Taming of the Shrow, II. i. (alterd). 
 
 17. SONG. J;atre is mjj lone. Passionate Pilgrim, VII. 
 
 1 8. DUET. JU it ftU tiport a bag. Passionate Pilgrim, XX. 
 By SIR HENRY ROWLEY BISHOP; born 1786, died 1855. 
 
 He early showed a talent for dramatic composition, and when 
 he was eighteen years old wrote his first work, which was per- 
 formed at Margate. He became Bachelor of Music in 1839, and 
 was knighted in 1842. 
 
 Bishop wrote more music to Shakspere's words than any other 
 composer before or since. His pieces show capital spirit and 
 character. His ' Home, sweet home ' and ' Mynheer Van Dunck ' 
 are not likely to be soon forgotten.
 
 i6 
 
 Hlocf)fort=Smitf). 
 
 19. PART SONG. Jjtaue nxr more the heate o' th' 0uu. 
 Cymbeline, IV. ii. 
 
 By JAMES GREENHILL. 
 
 Miss Rochfort-Smith planned a Four-Text edition of Hamlet, 
 which she intended to give to the New Shakspere Society. She 
 hoped also to compile for the Society a fresh Concordance to all 
 Shakspere's works, giving references to lines, as well as Acts and 
 Scenes. Her death, after a week's severe suffering, took place on 
 Sept. 4, 1883. The Committee of the New Shakspere Society, at 
 their first meeting last Octooer, passed a Resolution expressing 
 their sense of the great loss which the Society and the progress of 
 Shakspere study had suffered by the sad death of their gifted helper. 
 Mr. Greenhill has composed this elegy for the present occasion.
 
 FOURTH PERIOD. LATE HARMONIC. 
 
 NINETEENTH CENTUEY. 
 
 EARLY in the present century, music passed entirely out of the 
 preparatory stages, in which it had so long remained, and made a 
 fresh start, less to discover new kinds of technical resource, than 
 to apply in detail those already known. Instruments of all the 
 necessary types having been invented and improved, the time was 
 ripe for an immense growth of orchestral writing. As a means of 
 pure expression, every instrument was obviously inferior to the voice ; 
 but this defect could be compensated by the endless contrasts of 
 orchestral tones ; by great varieties of speed ; by the continual use 
 of chromatic chords, very distantly related to the key; and by a 
 similar freedom of modulation. The forms of accompaniment 
 reached a degree of elaboration never before known, and not 
 seldom surpassing in importance the melody itself. Thus the 
 reaction from the method of two centuries before, was complete. 
 Instead of treating instruments as if they were voices, it now became 
 the practice to write for voices as if they were instruments. The 
 influence of the Italian style, formerly so powerful on the side of 
 vocal melody, had grown too feeble and trivial to resist these 
 modern tendencies. 
 
 From a more general point of view, the present period seems 
 characterized by an entire disregard of the authority of the past. 
 Traditional rules, however ancient, are never observed, if they 
 interfere with any effect which the composer desires, in order to 
 increase the attractiveness of his work. Banished from living art, 
 these rules may yet be discovered in the divergent creeds of 
 teachers, theorists, or critics. 
 
 Of Church music according to the established pattern, little has 
 been produced in the nineteenth century, and that little rather as 
 an imitative archaism than a free invention. Sacred works which 
 represent modern tendencies, like Beethoven's ' Missa Solennis,' 
 deviate from every ecclesiastical style. The faithful transmission of 
 stereotyped forms has ceased to be the aim of composers, and has
 
 1 8 FOURTH PERIOD. THE ROMANTIC MOVEMENT. 
 
 given place to the forcible rendering of new poetic conceptions. 
 Music, indeed, is no longer dependent for subject-matter on either 
 liturgy or drama. Instead of being a decorative adjunct, a translation 
 of literary ideas, music has become an original structure, an inde- 
 pendent creation. It presents itself as a new language for thought 
 and emotion ; not possessing the definiteness of speech, but far 
 surpassing it in range and power. The first composer who thus 
 drew his inspiration direct from life was Beethoven ; and the world 
 is so familiar now with the style of music brought in by him that 
 one can hardly realize how startling must have been its apparition, 
 eighty years ago. 
 
 Released from so many conventional trammels, music could not 
 fail to be soon transformed by the ' romantic movement.' Every 
 phase of this influence, long ago recognized in other arts, had its 
 analogue in music. ' Local color ' was closely studied, with a new 
 and deeper feeling for the characteristics of folk-song. The 
 Bohemian, Suabian, and Spanish elements were brought into 
 cultivated music by Weber, the Hungarian Gipsy by Schubert, the 
 Highland Keltic by Mendelssohn in his Scotch Symphony and his 
 Overture, 'Fingal's Cave.' The Slavonic temperament has also 
 arrived at artistic expression ; seeming to promise a renewal of 
 European music, now that the decay of German originality has 
 followed the decay of Italian. In the study of dramatic appro- 
 priateness, even savage music has not been neglected. One of the 
 first successes in this branch was the Chorus of Dervishes in 
 Beethoven's ' Ruins of Athens.' A native Arabic melody is taken 
 as the foundation of an elaborate finale in Weber's 'Oberon,' and 
 the same opera contains an unsurpassable picture of Islamite 
 truculence, in the chorus, ' Glory to the Khalif.' If the scene of a 
 new operetta is laid in Japan, and the composer does not produce 
 some eccentric effects, capable of being interpreted as ' local color,' 
 he is at once denounced by the critics. 
 
 Webor, again, was the first in music to adventure into the realms 
 of diablerie and fairyland, and to call up the forms of fiend, wizard, 
 sprite and mermaid, with the living and fascinating reality of folk- 
 lore. Mendelssohn, whose Midsummer Nighfs Dream is also
 
 FOURTH PERIOD. THE ROMANTIC MOVEMENT. SCHUBERT. 19 
 
 inspired by the magical style, was perhaps too ' classical ' an artist to 
 meet with such perfect success in this purely 'barbarian' mystery. 
 Later composers have often followed in the steps of these two, and 
 the manufacture of the supernatural is now a well-understood and 
 formulated process. 
 
 While the nineteenth century has seen an untiring search after 
 every possible or impossible beauty, after every kind of ornate or 
 picturesque material, it has also been marked by a strong taste for 
 the sombre and the grotesque. The exciting and exhausting effects 
 of romantic art necessitate the use of violence and ugliness as means 
 of contrast and relief. To Mendelssohn, this aspect of the ro- 
 mantic movement appears to have been repulsive. But the nervous 
 excitability of his style, its fanciful elegance, elaboration of detail, 
 and breathless speed, mark it clearly enough as an offspring of the 
 nineteenth century. Possibly, future music may go so much farther 
 in the same direction, as to make the works of the present day 
 seem colorless and pedantic, by the side of the more drastic and 
 original effects which then may be discovered. 
 
 20. SONG. ^)nrfec, hearke, the larkc. Cymbdine, II. iii. 
 
 By FRANZ PETER SCHUBERT; born Jan. 31, 1797; died Nov. 
 19, 1828. . 
 
 Lichtenthal, near Vienna, was Schubert's birth-place, but his 
 ancestors came from Moravia. Beginning to compose when only 
 thirteen, his progress as a musician was interrupted by his turning 
 school-teacher, in order to avoid the conscription. When seven- 
 teen, his first mass attracted the attention of Salieri, an old Italian 
 composer, long resident in Vienna, who took him up and gave him 
 lessons. Schubert lived for many years in great poverty, supported 
 sometimes by the friends he had made by his music. He attracted 
 little public notice till about 1816, when Vogl, a Viennese Opera 
 singer, made his acquaintance, and was fascinated by his songs. 
 In 1818 he became teacher of music in the family of Count 
 Johann Esterhazy; and retained this situation for seven years. 
 The summers were passed at the Count's Hungarian country-seat ; 
 the winters in Vienna. His stay in Hungary made Schubert
 
 20 FOURTH PERIOD. SCHUBERT. 
 
 acquainted with the remarkable dances and songs of the Magyars, 
 which he turned to account in many of his best instrumental 
 works. 
 
 Schubert was by far the most prolific of composers. He wrote 
 several operas, masses, symphonies, string quartets, and a multitude 
 of pianoforte pieces and songs. Few, however, were published while 
 he was alive, and these were miserably paid for. He sent three of 
 his songs to Goethe in 1819, but the poet took no notice of the com- 
 poser, who was afterwards to give some of his songs a wider popu- 
 larity than they might otherwise have obtained. Though Beethoven's 
 stay in Vienna coincided for so many years with Schubert's lifetime, 
 they only met twice. On the first occasion, Schubert's nervousness 
 overcame him, and he rushed out of the room before he had written 
 a word for the deaf Beethoven to read. On the second, Beethoven 
 was hardly conscious, being then in his last illness. But he had 
 become acquainted some days before with a selection of Schubert's 
 songs. These excited his admiration, and caused him to say, 
 'Truly, Schubert has the divine fire.' 
 
 Though Schubert's name was now becoming more widely known, 
 he was still in poverty ; sometimes on the brink of starvation. He 
 died of typhus fever at the age of thirty-one. Of his many works 
 only a small proportion was publicly performed during his life. 
 Schumann was the first to force the world to listen to the treasures 
 it had disregarded. Liszt also aided the success of other works 
 of Schubert ; and in England a similar service has been rendered 
 by Sir George Grove. 
 
 Schubert set two of Shakspere's songs, ' Hark, hark, the lark ! ' 
 and ' Who is Sylvia ? ' Some believe him to have also set ' Come, 
 thou monarch of the vine.' The first of these is included in our 
 program. In this song a happy use is made of the dominant pedal, 
 and of the modulation into the key a major Third below. 
 
 'The isolated songs of Schubert, from their beauty, fitness, 
 freshness, and number, place him in general estimation, and 
 deservedly, at the head of all song-writers of whatever age or 
 country. As a practitioner on a more extended scale, a composer 
 of symphonies and chamber-music symphonic in its scope and 
 character, his place is lower. He is rich in nay, replete with
 
 FOURTH PERIOD. PINSUTI. SULLIVAN. 21 
 
 ideas of which he is rather the slave than the master. . . . He is 
 diffuse to an extent far beyond the practice of any composer of like 
 power. ... If ever Schubert's reputation as a symphony writer 
 dies, it will be of the plethora of invention exhibited in ' his works. 
 (Hullah, 'Lectures on Musical History.') 
 
 The best account yet published of Schubert's life and works is 
 by Sir George Grove in his ' Dictionary of Music and Musicians/ 
 Parts XV, XVI, pp. 319 to 381. 
 
 21. PART SONG. ^tU me to here is fanrw brtb. Merchant of 
 
 Venice, III. ii. 
 By IL CAVALIERE GIRO PINSUTI; born May 9, 1829. 
 
 He is a native of Sinalunga, Siena. He came to England in 
 1830, and remained here fifteen years, carrying on his musical 
 studies. In 1845 ne returned to Italy and became a pupil of 
 Rossini. Three years later he again came to England, and started 
 as a teacher of singing, sometimes residing in London, sometimes 
 in Newcastle. Many eminent singers, including Grisi, Bosio, Patti, 
 Mario, have come to him for direction. Several of his operas, of 
 which one is founded upon The Merchant of Venice, have been 
 produced with success in Italy. His part songs are melodious, 
 spirited, and popular. The present one, in the key of G, starts in 
 a modern and striking manner with the chord of D A, F$, C. 
 
 22. SOXG. SBilUragh <Sxmj. Othello, IV. iii. 
 
 By SIR ARTHUR SEYMOUR SULLIVAN; born May 13, 1842. 
 
 He was a chorister in the Chapel Royal till 1857. He was 
 elected Mendelssohn scholar at the Royal Academy in 1856, and 
 was the first to hold that distinction. Goss and Sterndale Bennett 
 were his teachers. Two years later he went to Leipzig, returning 
 to London at the end of 1861, and bringing his music to Shakspere's 
 Tempest, by which his first public success was obtained. 
 
 An Overture, 'In Memoriam,' written in 1866 on the death of 
 his father, is still often heard. In 1873 he composed an Oratorio, 
 'The Light of the World;' and in 1880 another, 'The Martyr of 
 Antioch,' received with applause at the Birmingham and Leeds 
 Festivals respectively.
 
 22 FOURTH PERIOD. HATTON. C.ALLCOTT. SULLIVAN. 
 
 Of late years the names of Gilbert and Sullivan have become 
 fixed in the public mind as author and composer of a series of 
 comic operettas, 'Trial by Jury,' the 'Sorcerer,' 'H.M.S. Pinafore,' 
 the 'Pirates of Penzance,' 'Patience,' 'lolanthe,' 'Princess Ida.' 
 The farcical absurdity of the words and the pretty ingenuity of 
 the tunes have led to the most successful runs in English and 
 American theatres. 
 
 Sir Arthur Sullivan is also universally known as the favorite 
 composer of the modern English drawing-room ballad. His part 
 songs, hymns, and anthems are of equal merit. 
 
 He was knighted on May 15, 1883. 
 
 23. SONG. Eh.en that 1 ioa0 anii a little tine tog. Twelfth 
 
 Night, V. i. 
 By JOHN LIPHOT HATTON; born at Liverpool, 1809. 
 
 As a musician he was almost entirely self-taught. His songs and 
 part songs have become very popular. In 1844 he went to Vienna 
 to bring out his Opera ' Pascal Bruno.' On his return to England he 
 took the pseudonym of ' Czapek,' meaning ' hat on ' in Hungarian, 
 and published under it several of his works. He was director ot 
 the music at the Princess's Theatre under Charles Kean, and during 
 this engagement produced settings of Macbeth, Henry VIII,, Richard 
 II., Lear, The Merchant of Venice, Much Ado about Nothing, etc. 
 In 1877 his sacred drama, ' Hezekiah,' was performed at the Crystal 
 Palace. 
 
 24. TRIO. " IDoto 0toeet the nuronc-light." Merchant of Venice, V. i. 
 By JOHN GEORGE CALLCOTT; born 1821. 
 
 Organist at Teddington. For twenty-four years he was accom- 
 panyist to Henry Leslie's choir. He has published two cantatas, 
 'The Golden Harvest' and 'Halloween,' as well as many part 
 songs and pieces of dance-music. 
 
 25. SONG. (Drplmis toith hi0 lute. Henry VIII., III. i. 
 
 26. SONG. <D Jtti0iri0 mine. Twelfth Night, II. iii. 
 
 By SIR A. SULLIVAN. (See no. 22.)
 
 FOURTH PERIOD. MISS MACIRONE. AUTHORITIES. 23 
 
 27. PART SONG. SBiU |)0tt Imp any tape? Winter's Tale, IV. iii. 
 By CLARA ANGELA MACIRONE; born in London, 1821. 
 
 Miss Macirone is of Roman descent. She received her musical 
 education at the Royal Academy, London, where she was afterwards 
 appointed to a ' professorship.' Her ' Te Deum ' was the first 
 composition by a woman which was performed in the Church 
 service. Her setting of the ' Benedictus ' obtained the admiration 
 of Mendelssohn. But she is chiefly known by her part songs, 
 many of which have been sung with success by various London 
 choirs. Of late years Miss Macirone has organized a school of 
 musical instruction. 
 
 The accounts given of the lives and works of composers are 
 compiled from BaptiJ s ( Biographical Dictionary ',' by permission of 
 the publishers, Messrs. Morley and Co., Regent Street ; also from 
 Grove's ' Dictionary of Music and Musicians] published by Messrs. 
 Macmillan and Co., Bedford Street.