7-1

have a somewhat similar example in connection with a celebrated musician, John Jenkins. Born in 1592, he lived until 1678, and wrote, as North expresses it, "horse-loads of music." He was most prolific and most celebrated, and yet until a few years ago, when I revived m

all people know of him. This so-called Grand Chant is known and sung in every Protestant Church in the world. Humfrey is, however,

been a nephew of Colonel John H

t time the exact position of the grave can be only a matter of conjecture.[1] But what was on it has been preserved to us in a valuable old work, Keepe's Monumenta Westmonasteriensia, 1682. In this work a description is given of the armorial

the first set of children of the reconstructed Chapel Royal Choir, under Henry Cooke, generally known as Captain Cooke, who having fought in

self in the musical genius. He began composition while yet a boy, and in 1664 we find the wo

epys, which contains, by the way, several interesting reference

on, being the 51st Psalm made for five voices by one of Captain Cooke's boys, a pretty boy. And they say there are four or five of them

the same choir and at the same time. Captain Cooke appears to have been rarely fortunate in having in his newly-formed choral body a set of phenomena

world. A curious and interesting fact bearing upon this came to my knowledge quite lately. A Thesis for a Doctor's degree in the University of Paris (in 1912) was on the subject of Captain Cooke's Choir Boys, and it was a clever yet concise account of

but also for English art. On leaving the Royal Choir, Charles II sent him abroad to continue his musical s

France and Italy ￡200." In the two following yea

e many Operas in the most varied styles, both grave and gay, was the composer of a good deal of sacred music, and was also a reformer in Opera-writing; he introduced the accompanied recitati

nce of it. Under this influence-the influence of the greatest master of dramatic music of his time-it is not surprising that the already precocious genius of the young Englishman quickened, and that he retu

rd, January, 1667, and he was duly sworn in the October following. A glance at Pepys' Diary under dates November 1s

, and heard a fine Anthem mad

more interest, as apparently being Mr Pepys' fi

rave and others, that they cannot keep time nor tune nor understand anything; and that Grebus, the Frenchman, the King's Master of the Music, 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

ts and said he preferred them to Frenchmen. He may have said this, but the real cause of his dismissal was that he kept back the money which he ought to have paid to the P

, November 16, 1667, we find a very interesting reference t

t I did go into the Music Room where Captain Cooke and many others, and here I did hear the best and the smallest Organ go that ever

t walk and talk with Mr Greg

m Humfrey) stood keeping time, but for my part I see no great matter, but quite the contrary, in both sorts of Music. The c

and in the State Papers for the year 1668, under date January 20th, we

usician in Ordinary on the Lute, in place of Nich. Sa

same year Mr Pepys

the latter a sober citizen merchant.[2] Both sing, and the latter with great skill, the other no skill, but a good voice and a good basse, but used only to tavern tunes; and so I

ly) another reference

Deptford), and there find in the garden Pelling, who hath brought Tempest, Wallington, and

hort Bass solos, one to the words Sing praises lustily, which is almost like the song of a jovial sailor! It is in triple time, and is the sort of thing King Charles would certainly have beaten time to with his hand "all along the Anthe

lection called Choice Songs and Aires, Burney says: "Among these songs, to the number of near fifty, there is not one air that is either ingenious, graceful, cheerful or solemn: an insipid languor or vulgar

setting but one which we possess), is charming, both as regards melody and harmony. The first part is in the minor key, for which Humfrey seems-like Purcell-to have a weakness. There is an effective cha

ck," and in July of the same year his old master, Captain Cooke, died; his death being accelerated-so Antony Wood tells us-by chagrin at finding himself getting suppl

en of the Chapel Royal, and later, jointly with Thomas Purcell, he

song called Wherever I am and Whatever I do. It was writt

ied at Windsor on July 13th, 1674, and was buried in the Cloisters of Westminster Abbey, near the sou

ye 23

hat I leave my deare wife my sole executrix and Mrs. of al

say to my cousin Betty Jelfe: to Mr. Blow ad to Besse

. Hu

uly,

umfrey wrote the above written writing containing his last will and testament and he the sd Mr. Pelham Hum

n B

uly,

Catherine Humfrey Reli

nto the greater Purcell. He was not only Purcell's master at the Chapel Royal, but actually composed an Anthem jointly with Purcell, called By the Waters of Babylon. I

oubt, an eager listener to the "new effects" which his master introduced. The pupil is so great, one is in danger of

was for eighteen years a member of the Abbey

m as the swaggering young handsome gentleman