PROCEEDINGS OP PROVINd'AL SOCIETIES. 305 



Mr. Taylor then proceeded to examine the correctness of the 

 generally-received opinion, that the extinction of the fine school of 

 English vocal harmony, which existed in the reign of Elizabeth, 

 was effected by the Protector and his adherents ; and showed, by 

 an appeal to facts and dates, that this had, in fact, been accomplish- 

 ed by James I., and that Morley, Wilbye, Weelkes, and their co- 

 temporaries had all ceased to write, and their music to be sung, thirty 

 years before Cromwell's name had been heard of. 



Lecture IV. — Mr. Taylor began this lecture by reviewing the 

 state of music in England, at the time of Purcell's birth, (1658), 

 and that, also of Italy, (as far as related to dramatic music), in order 

 to ascertain whether Purcell had thence been enabled to derive any 

 of the materials for his operas, or any hints for their construction. 

 Specimens were given from Italian operas of the dates of 1650 and 

 1662, also from the operas of Lulli and other French composers of 

 the same period. Purcell's first opera, '' Dido et iEneas," then came 

 under review, and it appeared, that, although this opera was formed 

 on the Italian model, (the dialogue being carried on in recitative), 

 that in variety, beauty, and originality, it was superior to any 

 foreign production of a like kind, — especially in the construction of 

 the recitatives, in which style of writing Purcell at once proved 

 himself a consummate master. A selection from this rare and beau- 

 tiful opera (which exists only in MS.) was then given. The music 

 in " CEdipus" and in " Tyrannick Love'' was next alluded to, and a 

 duet, from the latter, sung. 



Mr. Taylor then noticed the discouragement which Purcell and 

 his cotemporaries received from Charles IT., by whom all English 

 music was proscribed, and a number of inferior French composers 

 introduced to his court, and patronized, — among these, M. Grabu, 

 for whom Dryden wrote his " Albion and Albanius," — from which 

 a duet was sung. The next opera which came under notice, w^as 

 Shadwell's version of *' Timon of Athens," for which Purcell sup- 

 plied the music. The lecture concluded with a duet and chorus 

 from this Play. 



Lecture V. — Purceirs opera, " Dioclesian," was noticed, with 

 marked approbation. This, Mr. Taylor observed, might be properly 

 called the first legitimate English opera. Purcell had here thrown 

 aside the rules which the Italians had prescribed for the construc- 

 tion of dramatic music, and had composed an opera, of which the 

 dialogue was spoken, and music only occasionally introduced. His 

 own views of dramatic composition Were modestly, yet eloquently, 

 expressed, in his dedication of this opera. Some pieces from it were 

 then sung. Mr. Taylor next proceeded to review the state of in- 

 strumental music at this period — their compass, character, and 

 usual mode of employment. The success of this opera stimulated 

 the partizans of foreign talent to import a number of singers and 

 dancers; but the attempt to rival Purcell wholly failed) and brought 

 only loss on those who projected it. 



January, 1836. — vol. hi., no. xiv. x 



