A Dictionary of Music and Musicians/Morley, Thomas

by William H. Husk

MORLEY, Thomas, Mus. Bac., was born probably towards the middle of the 16th century [App. p.720 "The date of birth is established as 1557 by the title of a 'Domine, non est,' in the Bodleian Library. It runs, 'Thomae Morley, aetatis suae 19. Anno Domini 1576'"]. It has been conjectured that he was educated in the choir of St. Paul's cathedral; it is certain that he was a pupil of Byrd. He took his degree at Oxford July 8, 1588. In 1591 he appears to have been organist of St. Paul's, but soon afterwards resigned it, as he never describes himself in any of his publications as other than Gentleman of the Chapel Royal, to which office he was admitted July 24, 1592. He was also Epistler, and on Nov. 18, 1592, advanced to Gospeller. His first publication was 'Canzonets, or Little Short Songs to three voyces,' 1593 (other editions 1606 and 1651), which was followed by 'Madrigalls to foure Voyces,' 1594; 2nd edition, 1600. In 1595 he published 'The First Booke of Ballets to five voyces,' an edition of which with Italian words appeared in the same year; and another edition with the English words in 1600. The work was reprinted in score by the Musical Antiquarian Society. In 1595 also appeared 'The First Book of Canzonets to Two Voyces,' containing also 7 Fantasies (with Italian titles) for instruments. In 1597 he issued 'Canzonets, or Little Short Aers to five and sixe voices,' and in 1600 'The First Booke of Aires or Little Short Songes to sing and play to the Lute with the Base-Viol.' The latter work contains the Pages' song in As You Like It ('It was a lover and his lass'), one of the few pieces of original 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.

[ W. H. H. ]