Humfrey's life, brief though it was, must be regarded as a turning point in our art's history--not alone by his own compositions, but by the infusion of his influence into the greater Purcell. He was not only Purcell's master at the Chapel Royal, but actually composed an Anthem jointly with Purcell, called _By the Waters of Babylon_. In Boyce's opinion "he was the first of our ecclesiastical {107} composers who had the least idea of musical pathos and expression of the words," but this is an exaggeration. This great advance in our music was carried on by the immortal Purcell, who, as a choir-boy under Humfrey, was, no doubt, an eager listener to the "new effects" which his master introduced. The pupil is so great, one is in danger of forgetting the master. At least here we have endeavoured to do some justice to the short-lived genius Pelham Humfrey. [1] I have lately identified the spot. Keepe was for eighteen years a member of the Abbey Choir, and probably sang at Humfrey's funeral. [2] I cannot help thinking Pepys meant Pelham as the swaggering young handsome gentleman, and Monteith as the sober citizen merchant. {108} XI. DR JOHN BLOW 1648--1708 If there is one name among the Twelve Musicians with whom I am dealing in this course of Lectures to which I desire specially to do justice, it is that of Dr. John Blow. As a child I sang his Anthems in Rochester Cathedral, and I well remember the delight with which I listened to, and took part in, his beautiful and expressive _I beheld, and lo a great multitude_, and _I was in the Spirit on the Lord's day_. In those days the great masterpieces of the English Cathedral School were constantly done, and very well done, at Rochester, and none of the Anthems except I may say, perhaps, Purcell's great Anthem _O Sing unto the Lord_, touched me and thrilled me as did that of Blow. And as long as I played in Manchester Cathedral and Westminster Abbey, so long did I feel the power and religious impressions of these splendid specimens of Blow's genius. Of course there are many Anthems and Services by this master, but none, to me at least, ever spoke so eloquently as did the two I have mentioned. This is one reason {109} why I approach the subject of Blow's career with such a desire to do him justice. Another is the strange neglect of most of his secular music, and lastly the absurd and ignorant criticism of Dr Burney, as displayed in his _History_, when he talks of "Blow's crudities."