Jeremiah Clarke (1674-1707)

Jeremiah Clarke  est un compositeur anglais dont les deux œuvres les plus connues aujourd'hui, intitulées « Marche du Prince de Danemark » ou « Trumpet Voluntary » et Trumpet Tune in D, ont été pendant très longtemps attribuées à Henry Purcell. Il s'agit de pièces dans le style du Grand Siècle, comportant une partie de trompette qui sont des morceaux de bravoure pour cet instrument.

On pense que Clarke est né à Londres vers 1674, où il est mort le 1 décembre 1707.

On ignore la première partie de sa vie. Il semble avoir été l'élève de John Blow. La première mention de son nom est en 1685, lorsqu'il fait partie du chœur de la chapelle royale, et où il est resté jusqu'à la fin 1692. De 1692 à 1699, il fut organiste au Winchester College, puis, de 1699 à 1704, organiste à la cathédrale Saint-Paul. Il est devenu plus tard organiste et "Gentleman extraordinary" à la Chapelle Royale, où il a partagé ce poste avec son collègue compositeur William Croft, son élève et  ami. Ils ont été remplacés par John Blow. En 1699, il a été nommé "vicar-choral" de la cathédrale Saint-Paul à Londres sous la direction de John Blow, compositeur qui l'a remplacé en 1703. En Juillet 1700 il a accédé au poste d'organiste à la Chapelle Royale, mais quelques années plus tard, il se suicida d'une balle dans la tête à la suite d'un chagrin d'amour, une passion désespérée pour une jeune femme d'un rang supérieur.
Son élève William Croft l'a remplacé dans ses fonctions à la Royal Chapel of London.



Œuvres


Pièce pour clavecin dans The Harpsichord Master, Londres,
Musique d'orgue
Messes, psaumes et d'autre pièces religieuses (dont 20 hymnes et plusieurs odes)
Marche du Prince de Danemark populairement connue comme Trumpet Voluntary (de la Suite en ré majeur)
Trumpet Tune en ré majeur, de l'opéra The Island Princess
King William's Marsch
Ode sur la mort de Henry Purcell
Musique pour Alexander's Feast de Dryden
Musiques de théâtre et musiques de scène

Catalogue

Musique religieuse

Anthems:

Blessed is he that considereth, 2/4vv,
Blest be these sweet regions
Bow down thine ear, for the Fast, 1705, 3/4vv,
How long wilt thou forget me, 1/4vv,
I will exalt thee, 3/4vv,
I will give thanks, 1/4vv,
I will love thee, O Lord my strength, 2/4vv,
I will love thee, O Lord my strength, on Marlborough’s victory at Eliksem, 1705, 3/4vv
I will magnify thee, 5/6vv,
My song shall be of mercy, full, 3vv, H. Playford: The Divine Companion (London, 1701)
O be joyful in God, all ye lands, for the Feast of the Sons of the Clergy, 1706, 1/4vv,
O Lord, God of my salvation, full, 6vv,
O Lord, rebuke me not, 1/4vv,
O Lord, we gat not : 3-4 voix
Praise the Lord, O Jerusalem, for the coronation of Queen Anne, 1702, full, 4vv,
Praise the Lord, O my soul, full, 3vv,
Praise the Lord, O my soul, 3/4vv, 1705,
Sing unto the Lord all the whole earth, lost, text in Chapel Royal wordbook: Divine Harmony (London, 1712)
The earth is the Lord’s, 3/4vv,
The Lord is full of compassion, 3/4vv,
The Lord is king, for the Thanksgiving service for the Union of Scotland and England, 1707, 3/4vv,
The Lord is my strength, on Marlborough’s victory at Ramillies, 1706, 3/4vv,
This is the day, 3/4vv


Services:

Sanctus et Gloria, a, 3/4vv, (1790)
TeDeum, Jubilate, Kyrie, Credo, c, 2/4vv,
TeDeum, Jubilate, Kyrie, Gloria, 3/4vv


Odes

Alexander’s Feast (J. Dryden), St Cecilia’s Day 1697, lost
Come, come along for a dance and a song, on Purcell’s death, 1695,
Hail, happy queen, on Marlborough’s victories, 1706, lost
Hark, she’s called, the parting hour is come (R. Crashaw: A Song on the Glorious Assumption of the Blessed Virgin)
Let Nature smile, for Queen Anne’s birthday, ?1706,
No more, great rulers of the sky, ‘for ye Gentlemen of ye Island of Barbadoes’, ?1703,
Now Albion, raise thy drooping head, ‘on His Majesty’s happy Deliverance’, [1696],
O harmony, where’s now thy power, New Year 1706,
Pay your thanks to mighty Jove, on the Peace of Ryswick, 1697,
Tell the world, on the Peace of Ryswick, 1697

Autres psaumes,
hymnes :  Evening hymn -  The  Head that once was crowned with thorns (1693, 1700), ed H. Playford dans Harmonia Sacra (London, 1714)


Musique profane

Songs, catches and dialogues: all published in London; stage works given in parentheses

Ah, Charmion, (c1703),
A gentle warmth (c1715);
Ah, fly (c1705);
Alas, here lies the poor Alonzo slain (T. Shadwell: Timon of Athens) (1704);
Cease that enchanting song (c1703);
Celia is soft (c1700);
Come sweet lass (1698);
Cou’d a man be secure (R. Howard: The Committee) (c1700);
Divine Astrea hither flew (E. Settle: The World in the Moon) (1697);
Drink, my boys (T. D’Urfey) (c1705);
Each tender virgins’ fears (The Siege of Barcelona) (c1703);
Farewell, ungrateful nymph (1699);
Hark, the cock crow’d (D’Urfey) (1697);
Here’s a health to Queen Anne;
How often have I curst (c1705);
If Cloris please (G. Powell: The Cornish Comedy) (1696), lost;
If you’d win Melissa’s heart (1699);
I’m vexed to think (c1703);
I’m wounded by Amanda’s eyes (1701);
In drinking full bumpers; In faith, ’tis true;
I seek no more to shady coverts (E. Settle: The World in the Moon) (1697);
Jockey was a dowdy lad (D’Urfey: The Campaigners) (1698);
Jocky was as brisk and blith a lad (c1700);
Kneel, O kneel (D’Urfey: Cinthia and Endimion) (1696);
Long has Pastora rul’d the plain (J. Vanburgh: The Relapse) (1696);
Lord, what’s come to my mother (D’Urfey: The Bath, or The Western Lass) (1701)
Must I a girl forever be (P.A. Motteux: The Island Princess) (1699);
Now that Love’s holiday is come;
Now to you, ye dry wooers (Motteux: The Island Princess) (1699);
Oh my poor husband (Motteux: The Island Princess) (1699);
O, I feel the mighty dart (1699);
Serene and gentle was the air (1702);
Silvia by a double charm (1700);
Slaves to London I’ll deceive you (Motteux: Love’s a Jest, or The Comical Mistakes) (1696);
Sleep betray’d the unhappy lover (1701);
Smile then with a beam divine (Settle: The World in the Moon) (1697);
So sweet’s that charm (D’Urfey: Madam Fickle);
The bonny grey-eyed morn (D’Urfey: The Fond Husband) (1696);
The rosy morn looks blithe (D. Crawford: Love at First Sight) (1704);
’Tis sultry weather (Motteux: The Island Princess) (1699);
Twelve hundred years at least (c1705);
Ulm is gone (D’Urfey) (1702);
Was it a dream? (C. Cibber: The Fool in Fashion) (1695);
Well, Cloris, how find you (Powell: The Cornish Comedy) (1696);
What shall I do? (1699);
When maids live to thirty (Powell: The Cornish Comedy) (1696);
While the lover is thinking (Motteux: The Amorous Miser) (1705);
Whilst the French their arms discover (D’Urfey) (1701);
Whilst thus our calmer pleasures flow (Settle: The World in the Moon) (1697);
Why does Willy shun his dear (1699);
Young Corydon and Phyllis sat (c1695)


Other music for plays:

Antony and Cleopatra (C. Sedley), ov., ?1696,
A Wife for any Man (T. D’Urfey), incid music, 1696–7,
The World in the Moon (E. Settle), 1697,
The Island Princess (P.A. Motteux), ov., 3 act tunes, incl. ‘The Four Seasons, or Love in every Age’, 1699,
All for the Better (F. Manning), ov., airs, incid music, 1703, Och; airs in Harmonia anglicana (London, 1702)
Titus Andronicus (E. Ravenscroft, after W. Shakespeare), ov., act tune,
Incid music for 2 unnamed plays


Musique instrumentale

[7] Choice Lessons, hpd/spinet (London, 1711)
2 suites, hpd,
34 pieces, hpd/spinet: 1700, (incl. The Prince of Denmark’s March, The Duke of Glocester's March, The Emperour of Germany March), The Harpsicord Master, (London, 1697–1702)
Suite, wind insts, incl. The Prince of Denmark’s March (‘Trumpet Voluntary’),
Suite, tpt, 2 ob, bn, str, bc,
Other pieces, vn/rec




https://www.youtube.com/watch?v=n1n7WeuHCog


Ode sur la mort de Henry Purcell

https://www.youtube.com/watch?v=hpIvSyLBMkY