Both, however, date not later than
1685, which is near enough for either when there is nothing like
conclusive evidence as to which had the priority. The music for the
first plays is in no way bound up with the plays. It consists of
instrumental pieces and songs literally interpolated. It is likely
enough that tunes written for one play were often enough used for
another. The pieces were brief, but the unmistakable Purcellian mingling
of strength and sweetness is to be found even in such trifles. In 1690
and later Purcell took full advantage of masques which were inserted,
the interpolations being sometimes as long as the rest of the play, and
artistically of infinitely greater value. For the present he confined
himself to less imposing forms, which was certainly what he was engaged
to do.
The finest example of the odes of the period is the so-called _Yorkshire
Feast Song_ (1689). Many of the others are not, for Purcell,
extraordinary. They were written for such special occasions, for
instance, as the King's return all the way to London from Windsor, or
even Newmarket, or the birthday of a Queen, and in one case the birthday
of a six-year-old Duke.
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