Shakespeare and Music | Page 4

at all.
We find that one music master was accustomed to have his gentleman pupils so constantly "in his company" that they would practise their singing while "walking in the fields."
Finally--that part-singing from written notes, and also the extempore singing of a second part (descant) to a written plainsong, was a diversion of such young University gentlemen, and was looked on as a proper form of recreation after hard reading.
In the 16th century music was considered an essential part of a clergyman's education. A letter from Sir John Harrington to Prince Henry (brother of Charles I.) about Dr John Still, Bishop of Bath and Wells in 1592, says that no one "could be admitted to primam tonsuram, except he could first bene le bene con bene can, as they called it, which is to read well, to conster [construe] well, and to sing well, in which last he hath good judgment." [The three bene's are of course le-gere, con-struere, can-tare.]
Also, according to Hawkins (History of Music, p. 367), the statutes of Trinity College, Cambridge, founded by Henry VIII., make part of the Examination of Candidates for Fellowships to be in "Quid in Cantando possint"; indeed, all members were supposed capable of singing a part in choir service.[2]
[Footnote 2: This statement of Hawkins' seems a little exaggerated. Mr Aldis Wright tells me that the statutes provided for an examination in singing for Candidates for Fellowships, and that ability gave a candidate an advantage, in case of equality. Singing was not required of all candidates, but the subject was considered on the fourth day of the examination, along with the essay and verse composition.]
(Long before this, in 1463, Thomas Saintwix, doctor in music, was elected Master of King's College, Cambridge.)
Accordingly, we find Henry VIII., who, as a younger brother, was intended for the Church, and eventually for the See of Canterbury, was a good practical musician. Erasmus says he composed offices for the church. An anthem, "O Lord, the maker of all things," is ascribed to him; and Hawkins gives a motet in three parts by the king, "Quam pulchra es."
Chappell's Old English Popular Music gives a passage from a letter of Pasqualigo the Ambassador-extraordinary, dated about 1515, which says that Henry VIII. "plays well on the lute and virginals, sings from book at sight," etc. Also in Vol. I. are given two part-songs by the king, 'Pastyme with good companye' and 'Wherto shuld I expresse.'
A somewhat unclerical amusement of Henry VIII.'s is related by Sir John Harrington (temp. James I.). An old monkish rhyme, "The Blacke Saunctus, or Monkes Hymn to Saunte Satane," was set to music in a canon of three parts by Harrington's father (who had married a natural daughter of Henry VIII.); and King Henry was used "in pleasaunt moode to sing it." For the music and words, see Hawkins, pp. 921 and 922.
Anne Boleyn was an enthusiastic musician, and, according to Hawkins, "doted on the compositions of Jusquin and Mouton, and had collections of them made for the private practice of herself and her maiden companions."
It appears from the Diary of King Edward VI. that he was a musician, as he mentions playing on the lute before the French Ambassador as one of the several accomplishments which he displayed before that gentleman, July 19th, 1551.
There is also a letter from Queen Catherine (of Arragon), the mother of Queen Mary, in which she exhorts her "to use her virginals and lute, if she has any."
As for Elizabeth, there is abundant evidence that she was a good virginal player.
The best known MS. collection of virginal music (that in the Fitzwilliam Museum at Cambridge) has at least always been known as Queen Elizabeth's Virginal Book, and the following quaint story is quoted by Hawkins from Melvil's Memoirs (Lond. 1752).
"The same day, after dinner, my Lord of Hunsdean drew me up to a quiet gallery that I might hear some music (but he said he durst not avow it), where I might hear the queen play upon the virginals. After I had hearkened a while I took by [aside] the tapestry that hung before the door of the chamber, and stood a pretty space, hearing her play excellently well; but she left off immediately so soon as she turned her about and saw me. She appeared to be surprised to see me, and came forward, seeming to strike me with her hand, alledging she was not used to play before men, but when she was solitary to shun melancholy." [Queen Elizabeth's Virginal is in South Kensington Museum.]
To go on with the Royal musicians (who are interesting as such, because their habit must have set the fashion of the day), in James I.'s reign we find that Prince Charles learnt the Viol da Gamba from Coperario (i.e., John Cooper). Also Playford (temp. Charles