Shaksperean music which has come down to us; a charmingly fresh and flowing melody, which has been reprinted in Knight's 'Shakspere,' and Chappell's 'Popular Music of the Olden Time.' Morley's compositions were more melodious than those of most of his predecessors, and many of his madrigals and ballets have enjoyed a lasting popularity. He was editor of the following works: 'Canzonets or Little Short Songs to Foure Voyces, selected out of the best approved Italian authors,' 1598; 'Madrigals to five voyces selected out of the best approved Italian authors,' 1598; and 'The Triumphes of Oriana, to five and sixe voyces, composed by divers several authors,' 1601; reprinted in score by William Hawes. [See Oriana, Triumphes of.] To each of the first and third of these he contributed two original madrigals. He also edited 'The First Booke of Consort Lessons, made by divers exquisite Authors for sixe Instruments to play together, viz. The Treble Lute, the Pandora, the Citterne, the Base Violl, the Flute, and the Treble Violl,' 1599; another edition, 'newly corrected and inlarged,' appeared in 1611. In 1597 he published 'A Plaine and Easie Introduction to Practicall Musicke. Set downe in forme of a dialogue: Devided into three Partes: The first teacheth to sing with all things necessary for the knowledge of a prickt song. The second teacheth of descante and to sing two parts in one upon a plain song or ground, with other things necessary for a descanter. The third and last part entreateth of composition of three, foure, five or more parts, with many profitable rules to that effect. With new songs of 2, 3, 4 and 5 parts.' This excellent work, the first regular treatise on music published in England, continued in favour for upwards of two centuries, and may even now be perused with profit to the student. To the musical antiquary it is indispensable. A re-issue, with a new title-page, appeared in 1608, and a second edition with an appendix, in which the several compositions printed in separate parts in the body of the work are given in score, was published in 1771. The 'Introduction' was translated into German by Johann Caspar Trost, organist of St. Martin's, Halberstadt, in the 17th century, and published under the title of 'Musica Practica.' None of Morley's church music was printed in his lifetime. A Service in D minor, an Evening Service in G minor, and an anthem were printed by Barnard, and a Burial Service by Boyce. A Preces, Psalmes and Responses, and three Anthems, are in Barnard's MS. collections, and a Motet, 'De profundis,' 6 voices, also exists in MS. The words of several anthems by him are contained in Clifford's 'Divine Harmony.' He composed five sets of lessons for Queen Elizabeth's Virginal Book. In 1598 he obtained a patent for the exclusive printing of music books, under which the works printed by William Barley, Thomas Este, Peter Short, John Windet, and others, during its existence were issued. On Oct. 7, 1602, George Woodson was sworn into Morley's place at the Chapel Royal, but whether the vacancy had occurred by his resignation or his death, does not appear. It may have been the former, as in his 'Introduction' he frequently alludes to his impaired health, and both Hawkins and Burney state him to have died in 1604. Morley's compositions entitle him to much higher rank than the musical historians were disposed to assign to him, and very much better examples of bis compositions might have been found than those they selected. In proof of this it is only necessary to cite 'Now is the month of Maying,' 'My bonny lass she smileth,' 'Dainty fine sweet nymph,' 'Fire, fire,' 'April is in my mistress face,' 'Lo, where with flow'ry head,' and 'I follow, lo, the footing.' His Canzonets and Madrigals for 3 and 4 voices were published in score by W. W. Holland and W. Cooke, and six of his Canzonets for 2 voices in score by Welcker.
MORLEY, William, Mus. Bac., graduated at Oxford, July 17, 1713. On Aug. 8, 1715, he was admitted a Gentleman of the Chapel Royal. He composed some songs published in a collection together with others by John Isham, and a chant in D minor, printed by Boyce, ii. 306, by some believed to be the oldest double chant in existence. [See Flintoft.] He died Oct. 29, 1731.
MORNINGTON, Garrett Colley Wellesley, Earl of, Mus. Doc., born July 19, 1735, at Dangan, Ireland, displayed capacity for music at a very early age. Several interesting anecdotes of his early career are related by Daines Harrington (Miscellanies, 1781). With little or no assistance from masters he learned to play on the violin and organ and to compose, and when, with the view of improving himself in composition, he consulted Roseingrave and Geminiani, they informed him that he already knew all they could teach him. The University of Dublin conferred on him the degree of Mus. Doc., and elected him professor of that faculty. [App. p.720 "Add date of his election to the professorship, 1764, and that he held it till 1774."] In 1758 he succeeded his father, who in 1746 had been created Baron Mornington, and in 1760 he was created Viscount Wellesley and Earl of Mornington. His compositions are chiefly vocal; some are for the church, copies of which are said to exist in the choir books of St. Patrick's cathedral, Dublin. His chant in E is universally known. But it was as a glee composer that he excelled. He gained prizes from the Catch Club in 1776 and 1777 for two catches, and in 1779 for his popular glee 'Here in cool grot.' He published a collection of 'Six Glees,' and John Sale included three others in a collection with three of his own. Nine glees, three madrigals, an ode, and ten catches by him are contained in Warren's collections, and several glees in Horsley's 'Vocal Harmony.' A complete collection of his glees and madrigals, edited by Sir H. R. Bishop, was published in 1846. He died May 22, 1781. Three of his sons attained remarkable distinction, viz. Richard, Marquis Wellesley; Arthur, Duke of Wellington; and Henry, Lord Cowley.