Twelve Good Musicians Part 5

To many the name of John Milton will hardly suggest a musical composer.

And yet I am able to include this name--the name of the father of the poet--among the band of "Good Musicians" whose careers and works I am considering. I have always felt greatly interested in him and desired to find out all I could of his personal history, and particularly of his musical education, for undoubtedly in the elder Milton we have a really accomplished musician. We are told he educated his distinguished son in music, and that he had an organ in his house.

Dr Burney gives a very good and concise account of him, upon which I cannot improve and from which I venture to quote. (Burney, Vol. III, p. 134):

"We come now to John Milton, the father of our great poet, who though a scrivener by profession, was a voluminous composer, and equal in science, if not genius, to the best musicians of his age: in conjunction and on a level with whom, his name and works appeared in numerous musical publications of the time, particularly in those of {64} old Wilbye; in the _Triumphs of Oriana_ published by Morley; in Ravenscroft's _Psalms_; in the _Lamentations_ published by Sir William Leighton; and in MS. collections, still in the possession of the curious.

Mr Warton, in his Notes upon Milton's _Poems on Several Occasions_, tells us, from the MS. _Life of the Poet_ by Aubrey, the antiquary, in the Mus. Ashm. Oxon, that Milton's father, though a "scrivener," was not apprenticed to that trade, having been bred a scholar and of Christ Church, Oxford; and that he took to trade in consequence of being disinherited.

His son celebrates his musical abilities in an admirable Latin poem, _Ad Patrem_, where, alluding to his father's musical science, he says that Apollo had divided his favours in the sister arts between them; giving Music to the father and Poetry to the son.

Nor blame, Oh much-lov'd sire! the sacred Nine, Who thee have honour'd with such gifts divine; Who taught thee how to charm the list'ning throng, With all the sweetness of a siren's song; Blending such tones as every breast inflame And made thee heir to great Orion's fame.

By blood united, and by kindred arts, On each Apollo his refulgence darts: To thee points out the magic power of sound, To me the mazes of poetic ground; And fostered thus by his parental care, We equal seem Divinity to share." (_Translation_).

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The elder Milton was born in 1553, and is said to have been in the choir of Christ Church, Oxford. His father was a Roman Catholic, and it is said he disinherited his son for abjuring the Catholic faith.

The son went to London, and became a member of the Scriveners Company (1599-1600). In 1632 he retired to Horton, in Buckinghams.h.i.+re, having made a considerable fortune. In London he lived in Bread Street, where John Milton, the poet, was born. He contributed an admirable six-part Madrigal to _The Triumphs of Oriana_ (1601), Motets to Leighton's _Teares and Lamentations_ (1614), and Tunes to Ravenscroft's _Psalter_ (1621). There are various Anthems and Fancies in five and six parts in MS. in various libraries.

Now here is a man who contributed to three or four important musical publications, and was included in a list of the best known English composers. Had he been a professional musician he could not have done more. But we know he was a scrivener. What was he before he became a scrivener? and whence did he get his musical knowledge? If we could prove that the suggestion is true which makes him a Chorister at Christ Church, Oxford, we should know where he probably got his musical knowledge and his proficiency in Latin. But this information {66} seems to be impossible of proof. For the purpose of these Lectures I have devoted a good deal of time to this subject. Dr Strong, the Dean of Christ Church, now Bishop of Ripon, has been kind enough to look into the matter very carefully, and he writes me the following interesting letter:

Christ Church, Oxford.

June 25, 1919.

My dear Bridge,

I am sorry to say that I cannot discover anything about Mr. John Milton, Senior. We have here a very important series of books called Disburs.e.m.e.nt books. These contain a sort of summary statement of the payments made under various heads. But what makes them of interest is that all the members of the Foundation, from the Dean down to the cook, received their payments through the Treasurer and signed a receipt for them in the book. So there is a whole list of signatures beginning about 1570 and going down (with the exception of the Civil War period) to about 1830, when new methods were adopted. It is always possible to discover by this who held each office, and whether they were in residence on a particular day. Unfortunately, they do not go back beyond 1570. I searched through a volume in hopes that Mr. Milton or the organist might be among the signatories. The singing-men and even the choristers are there. But apparently at that time there was no organist, and certainly there is no allusion to Milton or any names such as you want, I think. It is a great pity we have not got the books from the beginning: the first 23 years would have been very {67} useful. Also, my matriculation book, which is in this house, is very inaccurate and incomplete for the earlier years. I am afraid, therefore, I cannot help you as regards Mr. Milton. You will understand how very interesting these signatures are when I say that in the volumes I looked at the other day I found a whole series of signatures of Richard Hakluyt the geographer, who was a student of the House.

Yours very sincerely, THOMAS B. STRONG.

It is very unfortunate that the records in Christ Church do not exist before 1570. But it may be remarked, if Milton the elder was born in 1553, he would be seventeen in 1570, and would therefore certainly have left the choir of Christ Church, if he ever belonged to it; and this, of course, before the entries began. As to this matter, there are one or two facts brought out in _Notes and Queries_ some years since which bear upon it.

Richard Milton, the grandfather of the poet, although a Roman Catholic, appears to have been Churchwarden of the Parish (Stanton St John) in 1552. Mr Allnutt, of Oxford, who contributed this bit of historical knowledge, writes: "Does this render it less probable that the Poet's grandfather was Richard Milton of Stanton, or are other instances known of Roman Catholics serving the office of Churchwarden under the {68} Protestant regime of the period?" (_N. & Q._, Feby. 1880; W. H.

Allnutt, Oxford.)

In the same paper, a little later, Mr Hyde Clarke writes on the subject of Milton's father being a choir-boy at Christ Church: "My Oxford and other correspondents, including Mr Mark Pattison, the eloquent critic of the Poet, who has laboured in this investigation have looked unfavourably on my proposition (_i.e._ that he was a Chorister of Christ Church), because they consider the Roman Catholic _recusant_ can never have sent his son to any heretical school. An answer is now given in my favour by Mr. Allnutt, because if in 1552 Richard Milton could serve as Churchwarden, the other matter of providing a scholars.h.i.+p for his son was but a small one. It is further probable that Richard Milton became a confirmed Roman Catholic only in his later years."--Hyde Clarke.

I think it is quite possible and even very probable that Milton's father learnt his music at Christ Church. Then who taught him?

Whoever it was, he turned out a thoroughly good musician. Milton's own compositions prove it, and, as we have seen, he is a.s.sociated with all the best English composers of the period in more than one work. Coming to London, we are told he had an organ and other instruments in his house and {69} to the practice of music he devoted his leisure. Ma.s.son says: "His special faculty was music, and it is possible on his first coming to London he had taught or practised music professionally." He was evidently in the musical world of London, and his house was probably the resort of many of the best musicians of the time.

The short Motet for _Teares and Lamentations_ is in a good contrapuntal style, with many devices which a man would use if he had been educated in a Cathedral Choir. The style had "eaten into his marrow," as old Sir John Goss once said to me, in reference to a Chorister's daily musical work.

Another interesting matter is Milton's contribution to Ravenscroft's _Whole Book of Psalms_, published in 1621. Here are found two tunes credited to John Milton, but I think there is no doubt they were merely harmonized by him. The best one is a tune still often sung in our Churches--ent.i.tled _York_: this seems to be an old Scottish tune; it was published in Edinburgh in 1615. It appears three times in Ravenscroft's book and with different harmonies, two of them being by the elder Milton. The melody in this tune is, of course, given to the tenor, as was the custom at this time. The tune has always been a favourite, and an old author says that "it {70} was so well known that half the nurses in England used to sing the tenor part as a lullaby."

This sounds rather startling! One would not believe that any baby could be put to sleep by hearing the tenor part of any hymn-tune. But the tenor part here is the melody, and really it has a gentle, swaying style about it, so that I, for one, believe the story of the Nurses and the Babies!

The melody is given in _English Country Songs_ edited by Miss Broadwood and Mr Fuller Maitland, allied to some amusing words.

Although we cannot claim the elder Milton as a musician who did much to advance the art, I think I may be forgiven for having included his name in my list. So little is said about him in musical histories, and I have been able, I think, to get together some comparatively unknown matter regarding him, that I hope I have done right in giving a place among my Twelve Good Musicians to John Milton the elder.

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VIII. HENRY LAWES

1595--1662

In Henry Lawes we have a subject of particular interest. No musician of the 17th or probably of any century, has been so praised by the poets, and few musicians of reputation have been so disdainfully treated by the old musical historians. I think we shall find Henry Lawes worthy of inclusion amongst the Twelve Good Musicians with whom I am dealing. His life was a chequered one. He lived in troublous days, and in an era of great changes in the political and musical worlds.

Born in 1595, at Dinton, in Wilts.h.i.+re, he became a pupil of Giovanni Coperario (or John Cooper, to give him his English name), and I think this had a considerable influence on the direction which his compositions took, and about which I shall say more later. We find him a Gentleman of the Chapel Royal in 1625, and later on a Gentleman of the Private Music to King Charles the First. On the breaking out of the Rebellion, he lost his {72} posts, and employed himself princ.i.p.ally in teaching singing. He lived a long life; long enough to see the Restoration, and to compose the Coronation Anthem for King Charles the Second, dying in 1662.

Lawes' contributions to English music begin with the Masque. The earliest date seems to be 1633-4, when he set the songs in a Masque written by Thomas Carew, ent.i.tled _Coelum Britannic.u.m_. This was written at the particular invitation of the King, and performed for the first time at Whitehall.

The poem was published in 1634 and was wrongly attributed to Sir William Davenant. Another Masque, by James s.h.i.+rley, _The Triumph of Peace_, was produced in the same year, Lawes and another well-known musician, Simon Ives, writing the music, for which they received the sum of 100. The following year saw the production of _Comus_, the greatest of Masques. It will be seen that Lawes differed from most of our English Composers in devoting himself, at the outset of his career, almost exclusively to the stage. I cannot help thinking this is to be explained by the fact that he was not educated in a Cathedral Choir, but was a pupil of Giovanni Coperario. Now this musician had an experience which few of his contemporaries enjoyed. He {73} studied in Italy--going there as plain John Cooper and returning to his native country as Giovanni Coperario. His sojourn in Italy was at a remarkable time; the time when the first Opera and the first Oratorio were given. It is very interesting to be told--and I have been told on the authority of my friend Rev. Spooner Lillingston--that among the names given in a certain record of the performance of the first Opera was found that of the Englishman, Giovanni Coperario. This seems to me to be an important fact. Lawes would come under the influence of Coperario, who, with his love for Italian music and experience of the beginning of Opera would, no doubt, help Lawes to take up the music of the stage, instead of the music of the Church.

Our composer was not, however, long before he embarked on some Church music by setting _A Paraphrase upon the Psalms of David_ by George Sandys, and also contributing another volume of tunes to _Church Psalms_, in which he was joined by his clever brother William, who was, later on, killed at the siege of Chester.

Among the commendatory poems prefixed to this volume was the well-known sonnet by Milton addressed to Lawes, beginning:

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Harry, whose tuneful and well measured Song First taught our English musick how to span Words with just note and accent----

He was a prolific writer of songs and Masque-music, but his great opportunity was in writing the music and producing Milton's _Masque of Comus_, at Ludlow, in 1634. Milton was a friend, and I think there is no doubt a pupil in music of Lawes. Milton's father had much music in his house in Bread Street, and no doubt, Lawes was among the eminent musicians who gathered there. When Milton's father removed to Horton, in Buckinghams.h.i.+re, we are told that the young Milton came up to London to receive instruction in music, as well as in other things. It was Lawes who apparently got Milton to write the Masque, which he desired to produce at Ludlow Castle in September 1634. The story of Comus and its origin is so well known that I need not dwell upon it. The music of the Masque was not published in the composer's life-time, but, curiously enough, it was Lawes who edited Milton's Poem in 1637. This was published without the name of the poet appearing[1], and was dedicated to Viscount Brackly, one of those who took part in the performance at Ludlow. In the dedication Lawes says: "Although not openly {75} acknowledged by the Author, yet it is legitimate offspring, so lovely, and so much to be desired, that the often copying of it hath tired my pen to give my several friends satisfaction, and brought me to the necessity of producing it to the public view."

Unfortunately we have only five songs of the original music. There are a great number of places in the Masque for which Milton desires music--and many directions for instrumental movements particularly.

What these were we do not know. The merits of Lawes' music have been decried, but having edited the _Comus_ music, after careful correction from Lawes' original MS., which I was fortunate enough to be able to see[2], I am confident that all who hear it will find the songs full of beauty and expression, and well worthy of the words to which they were so admirably fitted.

I must not dwell longer upon _Comus_, for there is much to be said about Lawes' other work.

Playford was a great patron and admirer of Lawes. He published no fewer than three books of _Ayres and Dialogues_, which contain some charming settings of excellent poetry. The first book of _Ayres_ was dedicated to his {76} pupils, Lady Alice Egerton and her sister, daughters of Lord Bridgwater, and in it he says: "No sooner had I thought of making these public than I resolved upon inscribing them to your Ladys.h.i.+ps; most of them being composed when I was employed by your ever honoured Parents to attend your Ladys.h.i.+ps' education in music."

Lawes is often said to have "introduced the Italian style of music into this kingdom," but this is hardly correct. That he admired and understood the Italian style is quite certain. His studies with Coperario would have influenced him in that direction, and he himself, in one of his numerous Prefaces (and he was a great writer of Prefaces), speaks of the Italians as being great masters of music, but at the same time he contends "that our own nation has produced as many able musicians as any in Europe." He laughs at the partiality of the age for songs sung in a foreign language. In one of the prefaces to his _Book of Ayres_ he says: "This present generation is so sated with what's native, that nothing takes their ears but what's sung in a Language which (commonly) they understand as little as they do the music. And to make them a little sensible of this ridiculous humour I took a Table or Index of old Italian Songs (for one, two, and three voyces), and this Index (which {77} read together made a strange medley of nonsense) I set to a varyed Ayre, and gave out that it came from Italy, whereby it hath pa.s.sed for a _rare Italian song_. This very song I have since printed."

This shows him a real humorist, and it is, I should suppose, the first real Comic Song! It is set quite in the style of an Italian song, with much declamation and with some charming melodious phrases. I have often had it performed at my Lectures, and when sung in Italian it is listened to very stolidly, but when the English translation is given it creates much hilarity. I give the English translation, whereby it will be seen it is indeed "a strange medley of nonsense."

The t.i.tle is given in Lawes' book as _Tavola_ (i.e. a Table or Index):

_Tavola._

In that frozen heart .... (for one voice) Weep, my lady, weep, and if your eyes .... (for two voices) 'Tis ever thus, ev'n when you seem to sive me, Truly you scorn me.

Unhappy, unbelieving, Alas! of splendour yet!

But why, oh why? from the pallid lips And so my life .... (for three voices).