That Humphreys was an admirable musician, possessed of uncommon genius, is easily discernible from the numerous compositions of his which have come down to us. He took as his models Lulli and Carissimi; but fortunately Purcell's genius was stronger and more emphatic than that of his master: had it been otherwise he would have become a mere copyist; but, as we shall hereafter see, Purcell looked to Italy for good musical models, and was not afraid to express his dislike to the frivolity of the French school.
There exists a very interesting manuscript anthem in Purcell's handwriting, which was originally composed by Humphreys, but afterwards altered and improved by Purcell.
Poor Humphreys had but a short career, or we may be sure he would have accomplished greater things than he did. Two years before he died he married a very beautiful lady, who followed him to his grave in the cloisters of Westminster Abbey in 1674, he being only twenty-seven years of age.
Purcell was then sixteen years old, and his boy-soprano voice must have been near its breaking--perhaps it had already departed. It was, however, the good custom of the period to retain as supernumeraries of the King's Chapel any of the old boys who gave evidence of musical ability. In 1666 we find "Hen. Cooke, Thomas Purcell, and other Gentlemen of the Chapel Royal, petition on behalf of themselves, the pages of the chapel, and _boys whose voices have changed_, for payment, there being no money assigned to the treasurer of the chamber for those purposes."
Purcell therefore continued attached to the Chapel Royal, and became a pupil of Dr. John Blow, the successor to Pelham Humphreys, as "Master of the Children." That Purcell studied under Blow is certain from the inscription on Blow's monument in Westminster Abbey, where it is stated that he was "master to the famous Henry Purcell." Blow was undoubtedly the very master Purcell then needed, for he was eminent for his goodness, amiability, and moral character, and combined with those excellent qualities all the learning and experience of a sound musician. His compositions are remarkable for their melodies and the boldness of their harmonical progressions.[19] He held appointments at the Chapel Royal, Westminster Abbey, St. Paul's Cathedral, and St. Margaret's, Westminster; and it speaks strongly for his singleness of heart, and the total absence of envy and jealousy in his nature, that recognising and proclaiming the remarkable abilities of his pupils, Purcell and Jeremiah Clarke, he resigned his appointments at Westminster Abbey and St. Paul's Cathedral, in order that they might occupy those prominent and advantageous positions. This estimable man, Blow, survived his dear friend and pupil, Purcell, some years, and so became his successor at Westminster Abbey, and was eventually laid in a grave close to him, nearly beneath the organ where they had so often discoursed sweet music together.
