The only difference
that may be felt between "While joys celestial" ("Cecilia Ode" of
1683) and a Mozart song, is that in Mozart one gets the frequent
human touch, and in Purcell the frequent suggestion of the free winds
and scented blossoms. The various scattered songs, such as "Mad Tom"
(which is possibly not Purcell's at all) or "Mad Bess" (which
certainly is), I have no room to discuss; but I may remark that the
madness was merely an excuse for exhibiting a series of passions in
what was reckoned at the time a natural manner. Quite possibly it was
then thought that in a spoken play only mad persons should sing, just
as Wagner insists that in music-drama only mad persons should speak;
and as a good deal of singing was required, there were a good many mad
parts. Probably Purcell would have treated all Wagner's characters,
and all Berlioz's, as utterly and irretrievably mad. Nor have I space
to discuss his instrumental music and his instrumentation, but must
refer shortly to the fact that the overtures to the plays are equal to
Handel's best in point of grandeur, and that in freedom, quality of
melody, and daring, and fruitful use of new harmonies, the sonatas are
ahead of anything attempted until Mozart came.
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