Gostick, Local Culture, Wider Influences

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University of Southampton
Faculty of Music
School of Arts and Humanities
Local Culture, Wider Influences - a Study of Provincial Music, Education and Society -
Wimborne Minster 1743 – 1765
Together with an edition of the works of George Combes
Volume 1 of 2
by
David Matthew Gostick
ORCID ID 0000-0003-4377-1510
Thesis for the degree of Doctor of Philosophy
24th May 2023

University of Southampton
Abstract
Faculty of Music
School of Arts and Humanities
Doctor of Philosophy
Local Culture, Wider Influences - a Study of Provincial Music, Education and Society -
Wimborne Minster 1743 - 1765
by
David Matthew Gostick
Wimborne Minster, former monastery, collegiate church and Royal Peculiar, has a long choral
tradition, and was amongst the earliest churches to resume choral worship after the
Commonwealth. This study focusses on a particularly rich musical period for the Minster, the mid-
18th century, and its leading light, George Combes.
The composition of the choir is examined through detailed reference to the rich surviving
archives, tracking many members from birth to death, and establishing their social standing. This
builds up a picture of the age range of the choristers, the family relationships within the choir, and
the prevalence of former choristers providing the lower parts, showing an institution that was, to
a large extent, musically self-sufficient.
However, outside influence remained a positive force over the musical life of the Minster,
with organists coming from Salisbury and Winchester. The main organist and composer examined,
George Combes, spent a period away from Wimborne as Organist of Bristol Cathedral, and the
impact of his time there is examined through the lens of the Annual Meeting of the Friendly
Society of Wimborne Minster. This social and musical event grew to take on the style of a music
festival, featuring substantial works of Handel. It brought musicians from a wide area to the town,
further broadening Wimborne’s musical horizons.
A remarkable survival, held in the Chained Library of the Minster, is an extensive collection
of manuscript and printed music, further evidence of the vibrant musical activity of the church.
The collection grew and was in practical use for two centuries. Order is sought within the
challenging array of books, and dating attempted through the archival evidence. This provides
essential groundwork for the final section of this thesis, a critical edition of the works of George
Combes.
29 pieces survive complete, and are presented in performing editions, with full critical
apparatus. Partially lost works and earlier versions are included in their extant state, to give a
rounded picture of George Combes’s musical development.
Through this research we find new material to broaden the understanding of a number of
areas of 18th century musical culture – the lives of musicians working in the zone between
professional and amateur, the interconnectedness of sacred and secular institutions, the
functioning of an ancient and distinctive organisation in a time of change, the relationship
between regional centres of various sizes. It also provides a corrective to the narrative of neglect
associated with liturgical music of the period. The critical edition brings an attractive and
functional repertoire to church choirs.
i
Table of Contents
Table of Contents
Table of Contents .......................................................................................................... i

Table of Tables .............................................................................................................ix
Table of Figures ............................................................................................................xi
Research Thesis: Declaration of Authorship ................................................................. xv
Acknowledgements ................................................................................................... xvii
Definitions and Abbreviations ..................................................................................... xix
Chapter 1 Introduction ............................................................................................... 1
Chapter 2 Wimborne Minster Choir 1660 – 1810 ........................................................ 7
2.1 Sources ....................................................................................................................... 7

2.2 The Three Ranks ......................................................................................................... 9
2.2.1 Pay ...................................................................................................................... 9

2.2.2 Division of roles ................................................................................................ 11
2.3 The Choristers .......................................................................................................... 16

2.4 The Men ................................................................................................................... 29
2.5 George Combes' Choir.............................................................................................. 33
2.6 The Organists............................................................................................................ 36
2.7 The Organ ................................................................................................................. 39
2.8 Conclusion ................................................................................................................ 43
Chapter 3 George Combes and the Friendly Society .................................................. 45
3.1 A Biography of George Combes ............................................................................... 46
3.1.1 A short biography ............................................................................................. 46

3.1.2 A detailed biography ........................................................................................ 47
3.2 George Combes and the Annual Meeting of the Friendly Society........................... 58
3.3 Conclusion, and thoughts on Combes’s compositional development..................... 72
Chapter 4 The Music Collection at Wimborne ........................................................... 73
4.1 The Catalogue ........................................................................................................... 73
i
Table of Contents
4.2 An assessment of the collection .............................................................................. 75
4.2.1 Printed sources: O 1-5, 23, P 1-9, Q 19-30....................................................... 78

4.2.2 Chants and other service music: O 9-12, O 18-20 ........................................... 80
4.2.3 Manuscript Scores: O15, O16, P19, P20, Q22 ................................................. 81
4.2.4 Two oddments: O17, Q31 ................................................................................ 81
4.2.5 Organ Books: O13, O14, O21, O22, P10 .......................................................... 82
4.2.6 Partbooks: P 11-18, P 21-34............................................................................. 87
4.2.6.1 Late group anthems .............................................................................. 88

4.2.6.2 Group Services ...................................................................................... 93
4.2.6.3 More Anthems .................................................................................... 101
4.2.6.4 Other Books ........................................................................................ 106
4.2.7 Aspects of the early partbooks ...................................................................... 107
4.2.7.1 Combes................................................................................................ 107

4.2.7.2 Psalms ................................................................................................. 108
4.2.7.3 Order ................................................................................................... 109
4.2.7.4 Shared Verses...................................................................................... 110
4.2.7.5 Hands .................................................................................................. 111
4.2.7.6 Treble part books ................................................................................ 112
4.2.7.7 Personal books .................................................................................... 113
4.3 Conclusion .............................................................................................................. 116
Chapter 5 Critical Commentary to the Edition of the Works of George Combes........ 117
5.1 Introduction ........................................................................................................... 117

5.2 Overview of Sources containing Combes’s music ................................................. 118
5.3 George Combes’s signature ................................................................................... 120
5.4 Performance Practice............................................................................................. 123
5.4.1 Choral outfit and direction ............................................................................ 123

5.4.2 Organ.............................................................................................................. 123
5.4.3 Altos ............................................................................................................... 125
5.4.4 Pitch ............................................................................................................... 126
5.4.5 Tempo relationships and bar lengths ............................................................ 126
5.5 Editorial Practice .................................................................................................... 127
ii
Table of Contents
5.5.1 Verse and Chorus allocations ......................................................................... 127

5.5.2 Instructions in score ....................................................................................... 127
5.5.3 Rhythms.......................................................................................................... 127
5.5.4 Accidentals ..................................................................................................... 127
5.5.5 Treble parts and Editorial notes ..................................................................... 127
5.5.6 Beaming and slurring ..................................................................................... 127
5.5.7 Barring ............................................................................................................ 128
5.5.8 Text ................................................................................................................. 128
5.5.9 Organ part ...................................................................................................... 128
5.5.10 Alto parts ........................................................................................................ 129
5.5.11 Prefatory staves and range finders ................................................................ 129
5.5.12 Textual Commentary ...................................................................................... 129
5.6 Anthems ................................................................................................................. 131
5.6.1 Sources ........................................................................................................... 131

5.6.2 Behold, I bring you glad tidings ...................................................................... 134
5.6.2.1 Text ...................................................................................................... 134

5.6.2.2 Sources ................................................................................................ 135
5.6.2.3 Repeats ................................................................................................ 136
5.6.2.4 Additional score................................................................................... 136
5.6.2.5 Verse and Chorus allocations .............................................................. 136
5.6.2.6 Rhythms ............................................................................................... 137
5.6.2.7 Barring ................................................................................................. 137
5.6.2.8 Textual Commentary ........................................................................... 137
5.6.3 Blessed is the Man.......................................................................................... 140
5.6.3.1 Text ...................................................................................................... 140

5.6.3.2 Sources ................................................................................................ 141
5.6.4 Give Sentence ................................................................................................. 143
5.6.4.1 Text ...................................................................................................... 143

5.6.4.2 Sources ................................................................................................ 144
5.6.4.3 Reconstruction of treble part .............................................................. 146
iii
Table of Contents
5.6.4.4 Barring ................................................................................................. 146

5.6.4.5 Organ part ........................................................................................... 146
5.6.4.6 Textual Commentary........................................................................... 146
5.6.5 I Will Magnify Thee ........................................................................................ 148
5.6.5.1 Text...................................................................................................... 148

5.6.5.2 Sources ................................................................................................ 148
5.6.5.3 Organ part ........................................................................................... 149
5.6.6 The Lord is King .............................................................................................. 152
5.6.6.1 Text...................................................................................................... 152

5.6.6.2 Sources ................................................................................................ 152
5.6.6.3 Clef ...................................................................................................... 153
5.6.6.4 Repeats................................................................................................ 153
5.6.6.5 Slurring ................................................................................................ 153
5.6.6.6 Organ part ........................................................................................... 153
5.7 Services .................................................................................................................. 157
5.7.1 Sanctus ........................................................................................................... 158

5.7.2 Service texts ................................................................................................... 161
5.7.3 Te Deum and Jubilate in A ............................................................................. 165
5.7.3.1 Sources ................................................................................................ 165

5.7.3.2 Verses .................................................................................................. 165
5.7.3.3 Text...................................................................................................... 166
5.7.4 Sanctus and Kyrie in A .................................................................................... 170
5.7.4.1 Sources ................................................................................................ 170

5.7.4.2 Text...................................................................................................... 170
5.7.5 Cantate Domino and Deus Misereatur in A ................................................... 172
5.7.5.1 Sources ................................................................................................ 172
iv
Table of Contents
5.7.5.2 Text ...................................................................................................... 172

5.7.5.3 Verse allocations ................................................................................. 173
5.7.6 Te Deum and Jubilate in D ............................................................................. 176
5.7.6.1 Sources ................................................................................................ 176

5.7.6.2 Text ...................................................................................................... 177
5.7.6.3 Intonation ............................................................................................ 177
5.7.6.4 Barring ................................................................................................. 178
5.7.6.5 Organ part ........................................................................................... 178
5.7.7 Sanctus and Kyrie in D .................................................................................... 182
5.7.7.1 Sources ................................................................................................ 182

5.7.7.2 Full/Piano indications .......................................................................... 183
5.7.8 Te Deum and Jubilate in E .............................................................................. 184
5.7.8.1 Sources ................................................................................................ 184

5.7.8.2 Text ...................................................................................................... 184
5.7.8.3 Intonation ............................................................................................ 184
5.7.8.4 Reconstructed parts ............................................................................ 184
5.7.8.5 Division of voices ................................................................................. 185
5.7.8.6 Deleted passages ................................................................................. 185
5.7.8.7 Figured Bass......................................................................................... 185
5.7.9 Sanctus and Kyrie in E .................................................................................... 188
5.7.9.1 Sources ................................................................................................ 188

5.7.10 Magnificat and Nunc Dimittis in E .................................................................. 190
5.7.10.1 Sources ................................................................................................ 190

5.7.10.2 Gloria ................................................................................................... 190
5.7.10.3 Bass part .............................................................................................. 190
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Table of Contents
5.7.11 Sanctus in F and G .......................................................................................... 194

5.7.12 Sanctus in F .................................................................................................... 194
5.7.12.1 Sources ................................................................................................ 194

5.7.12.2 Repeat indication ................................................................................ 194
5.7.12.3 Organ part ........................................................................................... 194
5.7.13 Sanctus in G.................................................................................................... 196
5.7.13.1 Sources ................................................................................................ 196

5.7.13.2 Organ Part ........................................................................................... 196
5.8 Published works ..................................................................................................... 198
5.8.1 Psalms ............................................................................................................ 198
5.8.1.1 Edition ................................................................................................. 199
5.8.2 Catch .............................................................................................................. 199
Chapter 6 Critical Commentary to the Incomplete Works ........................................ 201
6.1 Anthem .................................................................................................................. 202
6.1.1 Bow Down Thine Ear ...................................................................................... 202
6.1.1.1 Text...................................................................................................... 202

6.1.1.2 Sources ................................................................................................ 203
6.1.1.3 Editorial Procedure ............................................................................. 203
6.2 Services in D ........................................................................................................... 204
6.2.1 Te Deum in D – early version ......................................................................... 207
6.2.1.1 Sources ................................................................................................ 207

6.2.1.2 Relationship to other settings............................................................. 207
6.2.2 Benedictus in D .............................................................................................. 209
6.2.2.1 Sources ................................................................................................ 209

6.2.3 Early Sanctus and Kyrie in D........................................................................... 210
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Table of Contents
6.2.3.1 Sources ................................................................................................ 210

6.2.3.2 Relationship to later setting ................................................................ 210
6.2.4 Cantate Domino and Deus Misereatur in D ................................................... 211
6.2.4.1 Sources ................................................................................................ 211

6.3 Other service music ................................................................................................ 212
6.3.1 Versions of Cantate Domino and Deus Misereatur in A ................................ 212
6.3.1.1 Sources ................................................................................................ 212

6.3.1.2 Differences between versions ............................................................. 213
6.3.1.3 New Material ....................................................................................... 214
6.3.1.4 Repetitions .......................................................................................... 215
6.3.1.5 Part writing .......................................................................................... 218
6.3.1.6 Conclusion ........................................................................................... 219
6.3.2 Communion in G............................................................................................. 220
6.3.2.1 Sources ................................................................................................ 220

6.3.2.2 Notation............................................................................................... 220
6.3.3 Communion in G minor .................................................................................. 221
6.3.3.1 Sources ................................................................................................ 221

6.4 Psalms ..................................................................................................................... 222
6.4.1.1 Location and attribution...................................................................... 222

6.4.1.2 Style and usage .................................................................................... 225
6.4.1.3 Psalm 108 ............................................................................................ 225
6.4.1.4 Text ...................................................................................................... 226
Chapter 7 Conclusion ..............................................................................................229

Appendix A Musical matters from minutes of meetings of the Governors of Wimborne
Minster 1659 – 1810 ...............................................................................233
Appendix B Wills .......................................................................................................245
vii
Table of Contents
Appendix C Twenty Psalm Tunes ............................................................................... 253

Bibliography .............................................................................................................. 265
Primary Manuscript Sources ........................................................................................... 265
Wimborne Minster, Chained Library ....................................................................... 265

Dorchester, Dorset History Centre........................................................................... 265
Wimborne Minster Records .............................................................................. 265
Kew, National Archives ............................................................................................ 266

Salisbury Cathedral Archives .................................................................................... 266
Winchester, Hampshire Archives and Local History ............................................... 266
Newspapers .............................................................................................................. 267
Websites ................................................................................................................... 267
Printed Primary Sources .................................................................................................. 268

Unpublished dissertations ............................................................................................... 270
Secondary literature ........................................................................................................ 271
viii
Table of Tables
Table of Tables
Table 1 - The Choristers of Wimborne Minster 1663-1851 ......................................................... 16
Table 2 - choristers with full date information 1663-1810 .......................................................... 22
Table 3 - Ages of joining and leaving ........................................................................................... 24
Table 4 - length of time in choir statistics .................................................................................... 25
Table 5 - the Singingmen and Clerkes of Wimborne Minster 1658 - 1851 .................................. 29
Table 6 - George Combes's singers .............................................................................................. 33
Table 7 - The Organists of WImborne Minster from the Restoration to the mid-19th century .. 36
Table 8 - details relating to Combes family members in the Parish Records of Wimborne Minster.
......................................................................................................................... 48
Table 9 - Dates of Friendly Society Festivals and their proximity to the full moon ..................... 68
Table 10 - The Music Collection in the Chained Library at Wimborne Minster........................... 75
Table 11 - contents of books P25, P29, P30, P32, P33 and O14 .................................................. 90
Table 12 – settings from P23, P26, P27, P28, and O22, O21 ....................................................... 94
Table 13 - contents of treble section of P31 ................................................................................ 99
Table 14 - anthem contents of P23, P27, P33 and O21 ............................................................. 102
Table 15 - compositions by Kent in P23, P29, P30, P32 ............................................................. 105
Table 16 - Sources of the works of George Combes .................................................................. 118
Table 17 - distribution of Combes’s works in the Minster manuscripts, excluding psalm tunes.119
Table 18 - the locations of instances of George Combes's signature in the partbooks ............ 122
Table 19 - Distribution of service setting in D across the partbooks ......................................... 204
Table 20 - Source distribution of early settings in D and G ....................................................... 205
Table 21 - Comparison of versions A and B of Cantate Domino in A......................................... 214
Table 22 - Comparison of versions A and B of Deus Misereatur in A ........................................ 214
ix
Table of Tables
Table 23 - Phrase structures of 'With trumpets' section of Cantate Domino in A .................... 216
Table 24 - Psalms and their attributions in the partbooks ........................................................ 222
x
Table of Figures
Table of Figures
Figure 1 - The Willis Family .......................................................................................................... 27
Figure 2 - The east-facing case of Hayward's 1664 organ, from the Sperling notebooks ........... 42
Figure 3 - the west-facing case of Seede’s 1764 organ, from the Sperling notebooks ............... 42
Figure 4 - A view of the organ and screen from the nave, drawn by Nathaniel Whittock .......... 42
Figure 5 - A drawing by Whittock across the transepts, showing the western end of the screen and
case .................................................................................................................. 42
Figure 6 - George Combes's signature among names signing off the Churchwardens' accounts of
1752 - 1753 ...................................................................................................... 55
Figure 7 – from Salisbury Journal, June 21st, 1756 ..................................................................... 58
Figure 8 – from Salisbury Journal, 10th September 1761 ............................................................. 60
Figure 9 - the clubhouse of the Friendly Society ......................................................................... 60
Figure 10 – from Salisbury Journal, 25th June 1759 .................................................................... 62
Figure 11- extract from Purcell Te Deum in D, Wimborne partbook P11.................................... 63
Figure 12 - from Salisbury Journal, 14th May 1760 ..................................................................... 64
Figure 13 – from Salisbury Journal, June 23rd 1760 ..................................................................... 67
Figure 14 - a catch by George Combes ........................................................................................ 67
Figure 15 - from Salisbury and Winchester Journal, 20th April 1761 ........................................... 69
Figure 16 - from Salisbury and Winchester Journal, 23rd May 1763 ............................................ 70
Figure 17 - from Salisbury and Winchester Journal, 20th May 1765 ............................................ 70
Figure 18 - O11, Psalm 15 ............................................................................................................ 80
Figure 19 - O12, Psalm 15 ............................................................................................................ 81
Figure 20 - P10, cover .................................................................................................................. 83
Figure 21 - P10, first page ............................................................................................................ 84
xi
Table of Figures
Figure 22 - O14, page 1 ................................................................................................................ 85
Figure 23 - O21, page 4 ................................................................................................................ 85
Figure 24 - O22, p27 (the first in the book) ................................................................................. 85
Figure 25 - O13, first page, showing decorated titles ................................................................. 87
Figure 26 - P25, page 1 ................................................................................................................ 88
Figure 27 - P29, page 1 ................................................................................................................ 89
Figure 28 - P30, page 1 ................................................................................................................ 89
Figure 29 - P32, page 2 ................................................................................................................ 89
Figure 30 - P33, page 4 ................................................................................................................ 89
Figure 31 - Psalm chants, P14 f117v .......................................................................................... 109
Figure 32 - P11, folio 45v ........................................................................................................... 110
Figure 33 - P12, folio 8v7 ........................................................................................................... 110
Figure 34 – P16, folio 23v .......................................................................................................... 111
Figure 35 - P22, page 1 .............................................................................................................. 111
Figure 36 - P24, folio 2r ............................................................................................................. 111
Figure 37 - P11 page 4 ............................................................................................................... 112
Figure 38 - P19, final page ......................................................................................................... 115
Figure 39 - A bill in the hand of George Combes, DHC PE-WM/GN/5/6 ................................... 121
Figure 40 - George Combes's signature inside the cover of a full score of Handel's Coronation
Anthems ........................................................................................................ 121
Figure 41 - George Combes's name preceding a setting of the Sanctus in A, partbook P21 f5v121
Figure 42 - Behold, I Bring you Glad Tidings, bars 191-193, O14 .............................................. 137
Figure 43 - comparison of fragments from settings in D of Te Deum ....................................... 208
Figure 44 - extract from alto and tenor parts of two versions of Sanctus in D ......................... 210
Figure 45 - editorial reconstruction of 'With trumpets' section of Cantate Domino in A ......... 217
xii
Table of Figures
Figure 46 - P13 f95r, showing two psalm tunes with one attribution to Combes ..................... 224
Figure 47 - P24 f 135r, showing three psalm tunes with one attribution to Combes. .............. 224
xiii
Research Thesis: Declaration of Authorship
Research Thesis: Declaration of Authorship
Print name: David Matthew Gostick
Title of thesis: Local Culture, Wider Influences - a Study of Provincial Music, Education and Society -
Wimborne Minster 1743 – 1765. Together with an edition of the works of George Combes.
I declare that this thesis and the work presented in it are my own and has been generated by me
as the result of my own original research.
I confirm that:
1. This work was done wholly or mainly while in candidature for a research degree at this
University;
2. Where any part of this thesis has previously been submitted for a degree or any other
qualification at this University or any other institution, this has been clearly stated;
3. Where I have consulted the published work of others, this is always clearly attributed;
4. Where I have quoted from the work of others, the source is always given. With the exception
of such quotations, this thesis is entirely my own work;
5. I have acknowledged all main sources of help;
6. Where the thesis is based on work done by myself jointly with others, I have made clear
exactly what was done by others and what I have contributed myself;
7. None of this work has been published before submission
8. Signature: D. Gostick ................................................. Date: 20/10/2022 ...........................
xv
Acknowledgements
Acknowledgements
My thanks to Jeanice Brooks and Francesco Izzo for their patient and insightful comments on my
work. Also to Julie Gammon, Tom Irvine and Laurie Stras for their help in shaping the project, and
to Stephen Rice for his encouragement and support in bringing it into being.
I received an enormous amount of help in approaching the music manuscripts from Peter and
Brenda Gibson, and the edition owes a great deal to their groundwork. The choir of Wimborne
Minster have also been enthusiastic champions of the music of George Combes, and have
provided real-life feedback on editions.
Nigel Wyatt has been extremely helpful in sharing his thoughts on the region’s music festivals, and
in searching out references to the Friendly Society Meeting. He was instrumental in producing a
‘reconstruction’ of one of these events, giving an opportunity to tell the story to a new audience.
I am grateful to Richard Hall for the loan of a score of Handel’s Coronation Anthems, once in the
possession of George Combes.
Endless typesetting issues in Sibelius were sorted out by the dogged persistence of Ian Schofield,
and Jonathan Lightfoot has been invaluable in sorting Word challenges.
Access to the vast archives of the Minster was provided by the Dorset History Centre, whose staff
were endlessly helpful. I am grateful to the Rector and Churchwardens of Wimborne Minster,
alongside Judith Monds, the Librarian, for accommodating many hours of work in the Chained
Library.
Final thanks to my wife, Faye, for her support and for keeping the children out of the way.
Images are reproduced by kind permission of the British Library and the Rector and
Churchwardens of Wimborne Minster:
© British Library Board
© The Rector and Churchwardens of Wimborne Minster
xvii
Definitions and Abbreviations
BCP ....................................... Book of Common Prayer
BL.......................................... British Library
Can. ...................................... Cantoris, the side of the choir traditionally singing lower parts
CW ........................................ Churchwardens
Dec ....................................... Decani, the side of the choir traditionally singing upper parts
DHC ...................................... Dorset History Centre, which holds the archive of Wimborne Minster.
GN ........................................ The Governors of Wimborne Minster
PCC ....................................... Prerogative Court of Canterbury, responsible for probate of wills
TNA....................................... The National Archives, Kew
WM ...................................... Wimborne Minster
xix
Chapter 1
Chapter 1 Introduction
Wimborne Minster has always been a church that has stood apart. From its foundation as
monastery in 705 by St Cuthburga, sister of Ine, the King of Wessex, through time as a secular
college of canons, and centuries as a royal peculiar, it has had a remarkable ecclesiastical
standing. It was a site of pilgrimage to its sainted founder; another of the monastery’s members,
Lioba, led a mission to Germany and was also canonised. For the historian, the church and town
are fertile ground, with a remarkably well-preserved set of Churchwardens’ records going back to
1403, as well as a wealth of other records of sacred and secular administration for the institution
and its surrounding area. 1
From a musical standpoint, the Minster is equally notable. In 1562 a charter from Elizabeth I
vested the properties of the church in a group of 12 Governors, a group still in existence today,
and the main controlling force of the Minster at the period of this study. A second charter from
Charles I added provision for choristers and singing men, thereby formalising the musical
foundation in a format that endured into the nineteenth century. These foundations allowed for a
remarkably swift re-establishment of its choral tradition after the Commonwealth, with a choir
appointed by 1663.
The main aim of this thesis is to investigate and illuminate a particularly rich period in the cultural
history of a provincial town, and to probe the extent of its independence from, and reliance on,
other local centres. I examine the musical foundation of its principal institution, looking at the
personnel, their background, education and relationships, at the musical sources resulting from
their activity, and at particular moments of cultural endeavour. The central figure in this study is
the Organist of the Minster from 1743 - 1765, George Combes. His agency in bringing broader
influences to Wimborne through his time in Bristol had significant impact on the artistic life of the
town, as well as on the repertoire and performance of the Minster choir. A complete edition of his
works forms the final part of the thesis, with a commentary that discusses compositional
development and the role of performance tradition in the preparation of an edition.
1
This richness has already led to a number of other research projects into the social and religious history of
the area. See Alison Boag-Monroe, ‘P10-17An Assessment of a Little Known Provincial Source’ (MA, Bangor,
2006),Charles. Cornish-Dale, ‘Migrations of the Holy: The Devotional Culture of Wimborne Minster, C.1400-
1640’ (PhD, Oxford, 2018)., Patricia Coulstock, The Collegiate Church of Wimborne Minster (Woodbridge,
Suffolk ; Rochester, NY, USA: Boydell Press, 1993)., David Reeve, ‘A Study of a Small Town - Wimborne
Minster 1620-1690’ (PhD, Exeter, 2002). Doctoral research projects are also underway into the nearby
Banks estate of Kingston Lacy.
1
Chapter 1
In broader terms, I attempt to challenge the prevailing historiography of eighteenth-century

church music. Musicological research into England in the period has tended to focus on
burgeoning concert life, the operas and oratorios of Handel, and the major cultural centres, with
church music relegated to a low position. Christopher Dearnley sums up the traditional position:
‘as the years passed English cathedral music became more and more impoverished, weakened
internally by arguments concerning style and purpose, by inadequate resources, and facing
increasing indifference’. 2 However, Wimborne was not the only provincial centre where the
musical life of the church was the cultural focus of the town. The importance of church music, and
the significance of music making in the provinces has become a more significant focus of study
over recent decades, and this work aims to contribute to that trend.
In Chapter 1 I explore in detail the composition of the choir of the Minster, investigating the
background, education and relationships of its members. This has been made possible by the
distinctive situation of the church and town. The records of the Minster are notably well
preserved, including parish records holding details of baptisms, marriages and deaths,
Churchwardens’ records covering the day to day running of the church, and Governors’ accounts
and minutes which address matters of the financial organisation and, crucially, the personnel of
the musical foundation. This archival richness has allowed a very full picture of the choir to be
built up, with connections across the community shown.
An added advantage for the researcher is the particular geographical situation of Wimborne.
Whereas in a larger town there would have been mobility between parishes, the whole town of
Wimborne fell under a single parish. Therefore it has been possible to trace members of choir
through the parish records from cradle to grave, often furnishing details of family relationships
and professions. I have used this information to address a question of musical practicality often
raised by those familiar with current Cathedral choir practice – how did a choir manage to
function with only four boys? To our current mindset, which generally expects 16 boys to 6 men,
the balance of 4 boys to 6 men seems extraordinary. A certain part of it is related to repertoire, of
course. However, I demonstrate that the average age of boys singing in the mid-18th century was
considerably older than can be expected in modern times, and discuss the musical implications of
that.
2
Christopher Dearnley, English Church Music, 1650-1750 : In Royal Chapel, Cathedral and Parish Church.
(New York ; London: Oxford University Press, 1970) 92
2
Chapter 1
The speed with which the musical foundation was reengaged in the 1660s was certainly very
unusual – among the country’s parish churches it was only matched by Ripon, Manchester and
Southwell, now all cathedrals. However, how unusual was the offering of Wimborne Minster at
the period under scrutiny – the mid-18th century? In a time often associated with laxity in
cathedral music, what can we learn from the apparently flourishing musical life of the Minster?
I investigate the extent to which the Minster was, in Ian Spink’s words, a ‘satellite’ of ‘larger and
richer neighbours’ on the one hand, balanced with its unique and self-contained identity on the
other. 3
The second chapter examines a distinctive flowering of musical life in Wimborne in the form of
the Annual Meeting of the Friendly Society. In its structure it shows echoes of the larger music
festivals burgeoning in the period. Over the period of its existence, it featured increasingly
involved music making, in later years incorporating Handel oratorios with orchestral
accompaniment. The personnel as well as the physical structure of the Minster were central to
the society’s celebrations, demonstrating the cultural influence the institution had over wider
civic and social life. I investigate this from the perspective of wider cultural practice, seeing what it
can tell us about Wimborne’s relationship with other local centres. I also discuss the extra light
this smaller festival sheds on the well documented movement of music festivals across the
country.
In the course of analysing this event, I look more closely at the leading musical light behind it, also
the composer at the centre of this thesis, George Combes. I consider his experiences in Bristol,
and discuss the impact of this period on musical making back in Wimborne.
The third chapter turns the focus on to the music collection held in the Chained Library at
Wimborne. This is a large and amorphous collection, with usage stretching from the Restoration
to the mid-19th century. It is a notable feature of the collection that no two books have exactly the
same repertoire, so their grouping into sets is challenging. I attempt to provide a sense of order to
the books, and to suggest some groupings. I have approached this using a variety of techniques.
Examination of the physical appearance of the books and of the handwriting of both text and
musical notation give initial information that indicates the age and grouping of sources. Further
detail can be found through consideration of the repertoire and patterns of shared music, though
this demonstrates rather less clear sets than might be expected. Correlations with the
publications of collections used as sources for copying, and references to music books in other
3
Ian Spink, Restoration Cathedral Music, (Clarendon Press, Oxford, 1995), 407
3
Chapter 1
records, give weight to possible datings. Shared patterns of variants, particularly in the works of
George Combes, demonstrate kinship between particular books. Inscriptions in the books are
examined and referenced against personal information in other archival material to provide
further clues as to the date range of usage.
A catalogue of the music was made in 1988 by a local historian, and revised in 2008 by a member
of the Minster Choir. It is an essential resource in approaching the collection. The detailed
examination of the manuscripts involved in the preparation of the edition has uncovered
additional information that clarifies, and in some cases corrects, details in the catalogue. Most
significantly for this study, they include a number of additional copyings of the works of George
Combes. Findings are presented here, and could provide a foundation for a revised version of the
catalogue.
The edition
Transmitted through seventeen partbooks and four organ books held in the Chined Library at
Wimborne is a large corpus of works by George Combes, amounting to some 300 entries. This
includes 6 extended anthems in verse style, choral settings of liturgical music for Book of Common
Prayer worship, and metrical psalm tunes. In addition, a publication from Bristol also contains
psalm tunes by Combes, and a catch he wrote was published by Warren.
The majority of the pieces are missing a treble part – there is only one section of treble music
bound at the front of an alto part book. However, treble parts can be reconstructed from organ
books, where present. All pieces in this position are presented here in practical editions with full
critical apparatus and commentary. Some pieces are in a fragmentary state, with one or more
part missing, and are presented in their extant state.
Within the liturgical music there is provision for all the standard services (Matins, Communion,
Evensong) in three keys, A major, D major and E major, and some other short Communion
settings. The relationship between pieces in the same key should not be taken for granted, and is
examined in the commentary.
Several of the works have been copied on a number of occasions, over a period of time. Often
these versions display significant variants, particularly of rhythm, but also of harmony. It cannot
be ascertained with certainty from the sources which of these come direct from George Combes
himself. Indeed, I show that there is a strong likelihood that a set of copies emanated from his son
Richard after his death. However, these variants clearly represent the developing performance
tradition of the Minster. The commentary on the edition tackles these issues, and presents the
4
Chapter 1
works in a way that gives performers the opportunity to make informed decisions about the
options.
I look further at the development of Combes’s music through some fragmentary material found in
earlier part books. One consists of small parts of a Te Deum, whose ideas were developed later.
The other is an early version of a much-copied set of evening canticles. Whilst not complete,
enough of this remains to gain insight into the evolution of Combes’ style, and the material we
have is presented here with commentary.
5
Chapter 2
Chapter 2 Wimborne Minster Choir 1660 –

1810
Wimborne Minster was notable in being one of the earliest churches with an endowment for
choral music to resume full activities after the Restoration. There was a flurry of appointments in
1663, including an organist, three choristers, and two singing men to complement the three clerks
already in place from 1661. In 1664 a new organ was installed, the first in Dorset since the
Commonwealth, which stood almost alone in the area for over a hundred years. This renewed
tradition continued strongly throughout the eighteenth century, the strongest evidence for which
is the remarkable collection of manuscript part books held in the Minster's Chained Library. These
books contain a wealth of service music and anthems by nationally recognised composers, as well
as a significant corpus by composers working at the Minster, which give us an insight into the
choral programme undertaken.
This portion of the study, however, focuses on the extensive archival material available, that also
supports the claim that Wimborne had an extremely lively musical life throughout the period.
During a period seen as 'the nadir of fortunes of the cathedral choral tradition', Wimborne saw
full choir stalls with promptly filled vacancies, stable membership, and even the addition of two
extra choristers in 1778. 4 This chapter sets out and analyses some details about the membership
of the choir, and begins to place this rather unusual institution in a broader context.
2.1 Sources
The principal source of information about membership of the choir comes from the Minute Book
of the Governors of Wimborne Minster, their annual accounts, and sundry bills and receipts,
currently held at the Dorset History Centre. 5 The Governors are a body of 'twelve of the more
discreet and honest inhabitants of the Parish', defined by a number of charters, culminating in
that from Charles I, granted in 1639. 6 This document explicitly entitles them to appoint three
ministers, three clerks, three singing men and four choristers, as well as a schoolmaster and usher
4
Alan Mould The English Chorister : A History (London ; New York: Hambledon Continuum, 2007), ch 10.
This picture of neglect has been most recently painted in Peter Holman, ‘’Heard but Not Seen’: Leading
Anglican Cathedral Music from the Organ.’ In Before the Baton: Musical Direction and Conducting in Stuart
and Georgian Britain, (Boydell & Brewer, 2020), 43-68.
5
Minute book - Dorset History Centre (DHC) PE-WM/GN/2/1/1, accounts – PE-WM/GM/3/80-236, bills and
receipts - PE-WM/GM/5/4-8
6
DHC PE-WM/GN/1/7
7
Chapter 2
for the Grammar School founded by Lady Margaret Beaufort. Their regular meeting was on St
Thomas' Day, 21st December, each year, though they met at other times when necessary, and an
Easter meeting to settle accounts became a regular fixture later in the eighteenth century. Their
records are extant back to 1566, when the minutes of meetings begin. Accounts are held from
1574, though in this period there are gaps 1708 - 1710 and 1780 - 1806.
The Minute Book contains details of the appointment of all choristers, singing men, clerks and
organists, detailing whom each one replaced, and often furnishing information about choristers'
parents. It is very largely complete, but as a later binding of loose sheets there are some meetings
missed, so there are some gaps in the information. As will be seen later in Table 1, we sometimes
only have a date of joining or of leaving for particular choristers. In some cases, this is due to
meetings missing from the minute book. For example, in 1754 no meeting is minuted, which is a
likely time for George Oakley and John King to have passed the baton to Richard Oakley and John
Combes. On the other hand, at times it would appear that we have a full set of minutes, but not
all appointments have been noted.
The Governors' Accounts are extremely helpful in filling these gaps earlier in the period, but later
become less informative. The bulk of each year's accounts details tithes received and still to be
collected. Regular and extraordinary payments are recorded. Regular payments are to the
ministers, schoolmaster, usher (undermaster at the school), organist, clerks, singingmen and
singingboys. In earlier years all names are listed, allowing us to fill in the gaps that are particularly
noticeable in the earlier minutes. However, from 1693 the listing of the choir moves to 'the 3
clerkes' (sic), 'the 3 singing men', 'the 4 choiresters' (sic), giving us much less information,
although they are still useful in corroborating details in the minute book. Extraordinary payments
include building works on the various places under the control of the Governors as well as musical
items such as music books, reading desks, and additional payments to the organist. They also
provide a window into other work undertaken by members of the choir, discussed later.
In addition to these, there is a wealth of archival material relating to Wimborne Minster, church
and town. Of relevance to this study are Churchwardens' accounts, bills and receipts, Parish
records, and wills. 7 Owing to the unusual administrative structure of the Minster, Churchwardens
had little direct involvement with the music of the church, but their accounts provide valuable
insight into the community of the Minster and the place of members of the choir within it. Parish
7
Churchwardens’ accounts DHC PE-WM/CW/1/43 – 44, Churchwardens’ bills and receipts DHC PW-
WM/CW/2/1, Parish records PE-WM/RE/1-4, wills from Prerogative Court of Canterbury, see below for
individual references.
8
Chapter 2
records have been consulted in particular to establish the age of choristers and to discover
familial relationships within the choir, and between choir members and other groups within the
church. Wills have been examined to attempt to identify the status and occupation of members of
the community, though this has not yielded a great deal of information, as only wills of persons
with surnames beginning with A and E have survived from the Wimborne Minster Peculiar Court. 8
Outside the Minster, the archives of Salisbury and Winchester cathedrals provide valuable
comparisons of salaries, structures and personnel, and yield specific information on the
background of the organists. 9 Due to the nature of these larger institutions and towns it is less
likely to be able to correlate cathedral records with parish ones as I have done with Wimborne, so
I have not consulted the latter.
2.2 The Three Ranks
2.2.1 Pay
There were three ranks within the choir at Wimborne. The role of Singing Boy is self-explanatory,
boys providing the treble line of the choir until their voices broke. We will look at the background
and age range of this group later. They were paid one pound, six shillings and eightpence from the
first appointment after the Commonwealth in 1664 until 1684, forty shillings a year until 1709,
and fifty shillings thereafter. 10 The lower parts of the choir were provided by three Singing Men
and three Clerks. The salaries of the Singing Men were two pounds, thirteen shillings and
fourpence until 1684, then four pounds, and five pounds after 1709. At the very start of the
period the Clerkes were paid different amounts, with Nicholas Pope, the most senior who held his
post during the Commonwealth, being paid six pounds, thirteen shillings and fourpence, with
others on lower pay until they reached parity in 1670. This amount was raised to eight pounds in
1709.
According to Joseph Massie's calculations in 1760 a husbandman could expect to earn £15 a year,
a country labourer £12.5; earlier in 1688 Gregory King cited a labourer's wage as £15. 11 These
8
DHC PJ-WM/W/A and PJ-WM/W/E
9
Salisbury Cathedral archives are held in the Chapter Office. The Choir (CO) sub-fond has been consulted,
including Choristers (CH) and Vicars Choral (VC). Winchester Cathedral’s archives are held at the Hampshire
Record Office. The Chapter Act Books (DC/B3) contain records of members of the foundation.
10
DHC PE-WM/GN/2/1/1 p92 and DHC PE-WM/GN/3/88 onwards
11
J Massie A Computation of the Money ... Raised upon the People of Great Britain by the Sugar-Planters, in
One Year ... Shewing How Much Money a Family of Each Rank ... Hath Lost by That ... Monopoly, Etc. (1760),
Gregory King’s calculations are reprinted in J. Gregory & J. Stevenson, The Routledge Companion to Britain
9
Chapter 2
were clearly, then, supplementary forms of income, and we will look later at the other
employment of members of the choir. The poor pay for clerks of the church was often
commented upon, for example in Motte's Parish Clerk's Guide of 1709. 12 It is often suggested that
Clerks were frequently appointed from those with no other source of income, so that they might
not be a burden to the parish in poor rates. 13 Given the special responsibilities at the Minster, and
the recruitment policy inferred below, this was clearly not the case at Wimborne. To put these
salaries in the context of other Minster staff, in the middle of the eighteenth century the three
Presbyters were each paid £66, the schoolmaster £38, the organist £25, the sexton £6 and the
ringers corporately £3. The last two were the responsibility of the Churchwardens, rather than the
Governors. 14
Twenty five miles to the North, in Salisbury Cathedral, the eight choristers were on a sliding pay
scale, each boy normally rising through the ranks. The three levels were £8 (four boys), £10 (two
boys) and £12 (two boys). 15 As this was a much larger institution with a fuller liturgical round, the
considerably higher choristers’ fees is unsurprising. The cathedral also regularly paid
apprenticeship fees for boys as they left the choir.
The payments for adult singers at Salisbury are not included in the Cathedral accounts, as they
were paid directly by the Vicars Choral for whom they deputised (more on that arrangement
later). However, the records of a pay dispute from 1797 give us clear information. The first page
reads:
About the time of the Establishment of the Cathedral; Endowments were provided for every
part of the Offices of the Church, and particularly for that capital part for singing the duties of
the Cathedral Service, which was vested in a Body under the denomination of procurator and
Vicars Choral, who to strengthen the Harmoney, had assistants appointed by the Dean and
Chapter, who were recommended by the Vicars Choral, as being men well skilled in music of
the Church duty, & about 300 years past, they paid their assistants, & what was termed the
lay Vicars 8 pounds per annum each from their Fund, & in course of time provisions etc raising
higher in price they were again raised from 8 to 12 pounds per annum &then again about 150
in the Eighteenth Century (1st ed.) (2007), section 9. There has been much debate about the accuracy of
both of these calculations, however. See, for example, Peter H. Lindert and Jeffrey G. Williamson, Revising
England's Social Tables 1688-1867. (Davis, California: Department of Economics University of California,
1981)
12
Benjamin Motte, The Parish-Clerk’s Guide, (1709).
13
Nicholas Temperley, The Music of the English Parish Church, (Cambridge Studies in Music, 1983) 90
14
Payments for sexton and ringers are therefore found in Churchwardens’ accounts, DHC PE-WM/CW/1
15
Salisbury Cathedral Archive CO/CH/1/3/68
10
Chapter 2
years since were raised again to twenty pounds per annum, & so remain to this day on that
scanty stipend, notwithstanding the extraordinary price of taxes, & provisions. 16
So, from the time of the Restoration through the 18th century, the singers at Salisbury were paid
£20, to compare to the £5 for a singer and £8 for a clerk at Wimborne. The proportions between
the institutions are therefore similar, with the men at Wimborne doing a little better out of the
deal than the choristers.
The organist at Salisbury was paid £46. It is notable is that the organist of the Minster was paid
more than half what his contemporary at the Cathedral received, indicating that this was a
desirable position. He was also paid more than a singing man at the larger institution, a point that
will become important when we look at the origins of the Minster Organists.
2.2.2 Division of roles
To understand the division of the men of the choir into singingmen and clerks it is necessary to
consider the unusual ecclesiastical status of the Minster. As 'the King's Free Chapel' it was a royal
peculiar, and therefore exempt from diocesan jurisdiction. However, it functioned as the parish
church for Wimborne and therefore retained the administrative functions of a parish church. It
was endowed for choral music and so, whilst not a Cathedral, maintained a Cathedral style of
service, the only one in Dorset during this period. 17 With that background, the roles of
singingboys and singingmen are clear. Their function was to provide choral music in the cathedral
tradition, albeit with a weekly rather than daily liturgical round. When considering the clerks,
however, we need to look to parochial life to gain an understanding of their context.
In a standard parish church, the clerk had two functions, as laid out in Motte (1709). The first was
administrative. This involved keeping the parish records, or births, marriages and deaths. Whilst in
Motte there are some requirements specific to churches within the Bills of Mortality, these duties
were common to all clerks. The second was liturgical, involving leading the congregation in
worship and singing. In particular, the clerk was responsible for the practice of 'lining out' -
reading the text of each line of metrical psalm before it was sung. This implies that a certain
degree of musical education was expected of a clerk, although it would seem that in practice this
was often lacking. 18 A good deal of liturgical responsibility was laid on the clerk, most especially
16
SCA CO/VC/6/1
17
Hutchins, History and Antiquities of the County of Dorset, (1773).
18
Temperley, The Music of the English Parish Church.
11
Chapter 2
where there was no organ, as was common through this period. Even where an organist was
employed, it still fell to the clerk to choose the psalm and its tune. 19
What evidence do we have as to the relationship between the parochial and choral aspects of the
Wimborne Minster Clerks? Job descriptions naturally do not exist, but we can make inferences
from the surviving archives.
We need to look further back to gain an insight into the possible responsibilities of the Clerks. As
the end of the Commonwealth approached there was only one clerk in post - Nicholas Pope, who
held the role from the reign of Charles I until 1672. Clearly for much of that period his job would
not have been a musical one, but would have encompassed administrative matters, and possibly a
part in services. At a meeting on 25th January 1658 the Governors reasserted their right to
appoint three Ministers, three Clerkes, a Schoolmaster and an usher, according to the Charter of
Charles I, though no mention is made of other choir members. Indeed, two other Clerkes, Edward
Foster and Robert Pope were paid from 1658 - 1660, though the relatively small amount of £2 per
year. They were replaced in 1661 by Robert Higdon and Nicholas Pope Junior, who were to hold
the posts for substantial periods. Whilst they were appointed two years before John Silver, the
new Organist arrived, it is not inconceivable that they were chosen to replace the other two
Clerkes because of their ability to contribute to choral music.
The details of their appointments are suggestive:
Robert Higdon formerly chosen to be one of the Clarkes was confirmed in his sayd place,
and allowed to have Foure pounds a yeare...
Nicholas Pope the younger was confirmed to be one of the Clarkes of the Pish Church and
was allowed to have Forty shillings a yeare... 20
Firstly, it could be inferred that the appointments had been made previously, and held in
abeyance during the time of the Commonwealth, although it has not been possible to find a
reference to these in the records. Both men died in post, Nicholas Pope in 1671, and Robert
Higdon in 1682, so it is not inconceivable that they could have been appointed early in the 1640s.
Secondly, the salaries are rather lower than those paid once the choir had been fully re-
established - the younger Nicholas Pope's initial £2 rising after a year to £4, then both advancing
19
Ibid 115
20
DHC PE-WM/GN/2/1/1
12
Chapter 2
to £5 in 1664 and £6 13s 4d in 1671. This may imply that the performance of choral music was a
major and valued part of the role, attracting more money. 21
Whilst most references are simply to 'Clerks', in 1688 Robert Higdon was appointed 'to be Reading
or Secondary Clarke', and in 1694 Henry Gould 'to be one of the Reading Clerks' which would
indicate a greater involvement in the delivery of divine service than simply choral singing. 22 Both
roles would have required a level of literacy that may not have been found amongst the general
population.
Further on the role of Clerks there are two references that give us a clue to their functions. In
September 1714:
Ordered that the Dep.ty Receiver when he pays the three reading Clerks their Sallarys at
Michas next do stop out of their sallaries five shillings each and pay the same to Tho:
Moones that performed their Duty at Holt Chappell this year past
This order to continue good from half yeare to half yeare till further order. 23
And in December 1737:
Thomas Barfoot is appointed to do the Duty of the Clarkes at Holt Chapple and the
Receiver is to deduct 16s per annum out of the three Clarkes Salary for his allowance. 24
Holt Chapel was a church in a small settlement about three miles north of Wimborne, and under
the care of the Minster. It would not have had choral music, but clearly needed the liturgical and
administrative support of a Clerk. His functions are likely to have very similar to those of any other
parish clerk, and the pittance he was paid chimes in with the frequent complaints about the poor
pay of clerks.
In addition, we frequently find the signature of Clerkes entered as witnesses in marriage services,
after the practice was adopted in 1754. 25 This is particularly the case when the couple were
illiterate, and family members able to sign their name were unavailable. This again implies a role
in the management of the church beyond a musical contribution.
21
For more on the role of clerkes before the Commonwealth see Charles Cornish-Dale, ‘Migrations of the
Holy: the Devotional Culture of Wimborne Minster, C.1400-1640.’ (DPhil thesis, University of Oxford, 2018),
chapter VI
22
DHC PE-WM/GN/2/1/1
23
ibid
24
ibid
25
DHC PE-WM/RE/3/1-4
13
Chapter 2
There are a number of references to cleaning of the church to be carried out by Clerkes. For
example, from the Governors' meeting of 11th April 1790:
It is ordered that George Chorrett one of the Clerks do on every Saturday previous to
the Sacrament Sundays clean in a decent manner the choir & chancel of the Church
for which he is to be paid one Shilling each time by the Receiver 26
There is also evidence of Clerkes performing other administrative tasks beyond their employment
in that role. Robert Higdon, Clerke from 1661 - 1682 was paid six pounds a year in 1665 - 1667 for
receiving the rents and paying salaries. 27 This adds further weight to the evidence for a certain
level of literacy and numeracy amongst the choir members.
These pieces of evidence add up to the Clerkes fulfilling something similar to the administrative
and liturgical function within a standard parish church, but do not show that they had a musical
function. Why then the certainty that they were involved in the choir? The first is that, with the
exception of George Matthews, of the City of Winchester, all the Clerkes were drawn from the
ranks of singing men, once the choir had become sufficiently established to be able to provide
that path of promotion. That does not disprove the possibility that Clerkes were drawn from a
body of literate, liturgically aware men, the Singing Men, who then swapped their singing role for
a new, non-choral, function, though the consistency of the pattern makes this unlikely.
Comparison with the role of Clerk at Holt, which was much less well paid and was filled by men
without experience of the Minster choir, strengthens the case that Clerks at the Minster
contributed to the music, and received higher salaries in recognition of that.
That the Clerkes were, at least in part, under the control of the Organist, and therefore involved in
choral music, is evidenced by the periodic attempts to enforce attendance. Between 1697-1704
there are a number of references to fines for non-attendance, with George Day, the Organist,
being required to keep a register and pass on information about absences to the Receiver of the
Governors. The issue was raised a number of times in later years, such as 1769, 1785, 1793,
though in these cases it was the Official (one of the clergy) who was to keep record. A list of fines
from 1805 includes penalties for the Organist, alongside Clerkes, Singingmen and Singingboys. 28
The strongest indication that the Clerkes were involved in choral singing comes from the
partbooks preserved in the Minster's Chained Library. To take an example, we can look at George
26
DHC PE-WM/GN/2/1/1
27
ibid
28
ibid
14
Chapter 2
Combes' Te Deum in A. This is a large scale setting in the verse style, lasting nearly ten minutes.
There are indications of different verse trios to be taken by singers on different sides of the choir,
implying a full complement of parts on each side. Furthermore, there is a duet to be sung by two
basses, as well as a quartet for two trebles and two basses, and a trio involving two altos.
Therefore a full back row of six men, each able to hold an independent line, is required, and with
three Singingmen appointed at any given time, they must have been supplemented by the three
Clerkes. The situation is complicated, however, by certain passages being written out in books
belonging to other parts. The first bass part in the duet appears in a margin of a tenor book, and
the second alto part in the double alto trio appears in a tenor book. As we shall see later the choir
maintained a full back row throughout this period, so these expediencies can only be attributed to
absenteeism, or by some members of the choir being drawn away for other duties.
A comparison can be drawn with the situation at Salisbury Cathedral. Here six Vicars Choral were
appointed, clergymen financially supported by income from property. They were supplemented
by lay vicars ‘to strengthen the Harmoney’. 29 It is less clear in this case whether the lay vicars
deputised for or complemented the Vicars Choral – in other words whether there were regularly
six or twelve men singing. Certainly it would seem that by the end of the 18th century it was only
the lay vicars singing. The records of the pay dispute between the lay vicars and the vicars choral
from 1797 includes the phrase:
Many applications have been made by the Lay Vicars to what is now falsely called the
Vicars Choral 30
The implication is that the Vicars Choral are no longer truly choral, as they do not undertake a
singing role. Also, by this time, they had reduced in number to four.
If at some stage both Vicars Choral and Lay Vicars sang, those twelve voices would keep the same
proportion of voices as the Minster, though would not be necessary for the repertoire. We can be
sure, on the other hand, that six singers were needed in Wimborne to meet the musical demands
contained in the part books.
With only one exception, discussed below, the Clerkes were appointed from the ranks of the
Singingmen, as an internal promotion. They therefore came to the role with a great deal of
experience in the musical traditions of the Minster, and it seems certain that they would have
continued to use that expertise within the new role.
29
SCA CO/VC/6/1
30
SCA CO/VC/6/1, p2
15
Chapter 2
2.3 The Choristers
Table 1 is a list of choristers from the Restoration until 1851. This information was taken in the
first instance from the Governors' Minute Book, where choristers are appointed, often with
information about their father, or in one case mother, and generally whom they replaced. Owing
to a number of missing appointments or departures it was necessary to cross check this
information with the Governors' accounts. In the period up to 1693 these were very informative,
listing the names and amounts paid in detail. However, from that date until the accounts
beginning in 1807 the specific names are not listed, with a simple total for each of the groups
provided.
For clarity, dates have been given as whole years. We do have more precise information in many
cases about in which quarter a chorister began and ended his time. However, for the purposes of
this overview these have not been included. Ages are estimated from baptism dates. These are
commonly soon after birth, and the records show exceptions to that general rule, detailed in the
chart. Dates in the baptism column marked with an asterisk are taken from the 1841 census. 31
Table 1 - The Choristers of Wimborne Minster 1663-1851
Name Time as Years Age Age Baptised Notes

Singing Boy as Join Left
boy
John Willis 1663 - 1672 7
William Pope 1663 - 1669 6 8 14 20/6/1655 Son of Nicholas Pope
Joseph Oates 1663 - 1665 2
Richard Thedam 1664 - 1672 8 8 16 30/6/1656 son of Nicholas
John Thedam 1664 - 1675 11 8 19 4/5/1656 son of Richard
Richard Russell 1668 - 1673 5 14 19 26/6/1654
Christopher Shipton 1671 - 1678 7
Richard Browne 1672 - 1680 8 junr
William Russell 1673 - 1678 5 11 16 11/1/1662 son of William
Francis Browne 1675 - 1677 2
John Silver 1677 - 1682 5 junr
31
The National Archives, HO 107, searched at https://discovery.nationalarchives.gov.uk/details/r/C8971
accessed September 2022
16
Chapter 2

boy
Robert Higdon 1677 - 1683 6 junr
Fardinando Silver 1678 - 1685 7 10 17 28/3/1668 son of John
James Purchase 1679 - 1688 9 10 19 4/5/1669 son of James
Nicholas Pope 1681 - 1688 7
James Harbey 1683 - 1684 1
Samuel Harvey 1684 - 1690 6
Nicholas Bolter - 1688 Ran away
John Brown 1685 - 1691 6 11 17 Apr 1674 Son of Thomas
John Franklyn 1688 - 1693 5 son of James, voyce broken
Edward Guy 1688 - 1691 3 8 11 ?/9/1680 son of James.
Roger Willis 1690 -
Henry Silver 1691 - son of John Silver
John Willis 1691 - 1698 7 10 17 21/7/1681 son of John Willis
Augustine Skutt 1693 -
William King 1698 - 10 June 1688 son of William King
James Fabian -1708 17 June 1691 Son of Jason
Roger Tilsed 1708 - 1710 2 12 14 Apr 1696 Roger
William Jubberey 1710 - 1715 5 gone to sea
James Gill -1711 19 June 1692
John Barnes 1711 - 1719 8 10 18 2/7/1701
Roger Gill 1712 - 1722 10 9 20 1/2/1702 son of James
Nicholas Watten -1712 voice broke
Thomas Day 1715 - voice broke
John Gill -1718 voice broke
William Bezar 1718 - 11 7/6/1707 son of Thomas
John Willis 1719 - 1728 9 8 17 22/11/1711 son of Roger
Arthur Thomas 1715 - 1720 5
Christopher Meader 1720 - 11 3/4/1709
Will Thorne 1722 - 12 7/11/1710
Nicholas Russell 1725 - 1731 6 12 18 13/9/1713 son of Francis
John Harwood 1725 - 1731 6 10 16 29/12/1715 son of Henry
Thomas Harwood 1725 - 1731 6 9 15 11/1/1716 son of Thomas
James King 1728 - 9 22/6/1719
Roger Willis 1731 - 1741 10 7 17 12/11/1724 son of Roger
Reuben Gill 1731 - 1741 10 10 20 27/6/21 son of John
17
Chapter 2

boy
William Willis 1731 - 10 21/2/1721 son of Roger
Robert Gill 1741 - 1747 6 14 20 15/6/1727 Son of John
Robert Grey 1741 - 1744 3
Thomas Willis - 1742 17 10/1/1725
John Tilsed 1742 - 1748 6 10 16 29/3/1732 son of Thomas Tilsed
Thomas Gill -1743
John Mitchell 1743 - 1751 8 10 18 10/7/1733
George Oakley 1744 - 7 2/2/1737 son of Thomas Oakley
Peter Fabian 1747 - 1757 10 8 18 26/4/1739 son of William Fabian
Richard Combes 1748 - 1755 7 8 15 22/5/1740 son of George Combes
John King 1751 - 11 24/6/1740 son of Joseph King
William Thorn 1755 - 1763 8 10 18 7/1/1745 son of William Thorne of Pamphill
voice broken
Charles Willis 1757 - 12 25/2/1745 son of Roger Willis, Singingman
Richard Oakley - 1759/61? 14 1/1/1745 son of Thomas Oakley
John Willis 1759 - 1766 7 11 18 11/1748 son of Roger Willis, Singingman

Harvey
John Combes -1759 son of George Combes
John Oakley 1759 - 1765 6 11 17 29/9/1748 son of Richard Oakley
Thomas Druitt 1761 - 1766 5 son of Mr Sacheverell Druit
Richard Austen 1763 - 1766 3 11 14 30/3/1752 son of Mr W Austen, Register
Robert Thacker 1765 - 10 27/8/1755
James Oakley 1766 - 11 9/9/1755
George Dike 1766 - 1773 7 9 16 9/2/1757
Edward Lambert 1766 - 9 4/1/1757
George Cherrett 1769 - 1773 4 13 17 30/11/1756 son of Susanna Chorrett, widow
Joseph Hookey 1769 - 1769 1 12 12 20/9/1757 John Snook, uncle/gone out of

parish
Thomas Oliver 1769 - 1773 4 Apprentice to James King, Clerk
James Hardey 1773 - 1776 3 12 15 29/6/1761
John Hiscock 1773 - 13 28/2/1760
John Harvey 1773 - 8 17/2/1765
John Dooson -1776
Daniel Dooson 1776 - 1783 7
Robert Harvey 1776 - 9 29/10/1767
Richard Tory 1778 - 1784 6 9 15 26/11/1769 Additional choristers
18
Chapter 2

boy
William Mitchell 1778 - 1782 4 12 16 29/12/1766 Additional chorister/voice broken
William Hiscock -1780 17 25/1/1763
Charles Tory 1780 - 1784 4 10 14 27/11/1770
Charles Harvey -1780
Edward Hart 1780 - 1785 5 10 15 13/3/1770
Isaac Joy 1783 - 10 27/8/1773 Son of Richard and Mary 32
John Matchem 1784 -
Richard Poiter 1784 - 1787 3 ?11 ?14 12/9/1773
Samuel Joy -1784 12 Nov 1762 33 Son of Samuel
William Jolly 1784 - 1790 6
John Bessant 1785 - 1790 5 11 16 12/1/1774
John Lacey -1787 15 30/12/1772
Richard Reekes 1787 - 1790 3 11 14 15/12/1776 resigned
James Lambert -1787 12 6/3/1775 Son of David
John Reekes 1787 - resigned
John Church 1787 - 1793 6 resigned
Charles Matcham -1788
Thomas Elms 1788 - 7 2/9/1781 resigned
Richard Reynolds 1790 - 1793 3 11 14 24/5/1779 voice broken
John Reeks 1790 - 1799 9 9 18 6/4/1782- voice broken

b13/9/1781
Samuel Elms -1790 15 7/6/1775
Charles Dyke 1790 - 1798 8 11 19 28/12/1779 resigned
Thomas Drew 1790 - 1793 3 12 15 21/7/1778 resigned
John Hooper 1793 - 1803 10 7 17 13/2/1786
William Painter 1793 - 1800 7 11 18 28/1/1782 voice broken
James Hooper 1793 - 1796 3 9 12 14/4/1784 voice broken
William Reeks -1794 16 17/8/1779 b yr

earlier
John Warland 1794 - 1798 4 resigned
Samuel French 1796 - 1803 7 resigned
32
Isaac Willis Joy in parish records
33
There is another possible Samuel Joy, baptised 16/9/1764
19
Chapter 2

boy
John Butler 1798 -
William Ayres 1798 -
William Barfoot 1799 - 1805 6 9 17 7/8/1791 34 upon Probation
John Michell 1800 - 1806 6 voice broken
David Butler -1803 17 19/2/1786
George Belben 1803 - 1810 7 8 13 8/2/1797 16

months
John Harvey 1803 - 1806 3 7 10 28/3/1796 35
David Hooper -1803
James Lacey 1803 - 7 6/5/1796
James Harvey -1804
James Frampton 1804 - 1809 5
Robert Ayres -1804 17 22/7/1787
James Rulhound 1804 - 1810 6
David Lewis 1805 - 1806 1 deceased
James Gray 1806 - 10 25/10/1796
Benjamin North Jun 1806 - 1809 3 7 10 23/8/1799
Henry Frampton 1806 - 8 18/6/1798
John Smith 1809 - 1810 1 11 12 8/1/1798
George Rowthorn 1809 -
John Crow/Crew 1809 - 1814 5
James Rolesits 1810 -
John Rulhound 1810 -
John Mitchell 1810 - 1818 8 9 17 7/1/1811 8 years deceased

old
Charles Reekes 1812 - 1823 11 7 18 26/12/1805 son of William & Mary
James Roberts -1813 14 10/10/1799 Displaced. Son of John
Augustus Martin 1814 - 1820 6 Left the town
Charles Roberts 1815 - 1818 3
Robert Tucker 1815 - 1821 6 10 16 3/11/1805 son of James & Sarah
Richard Harvey -1818 15 30/12/1803 son of Richard
34
There is another possible William Barfoot, baptised 7/8/1792. The baptism listed here was of a 1-year-
old.
35
John Snook Harvey in parish records
20
Chapter 2

boy
John Scadding 1818 - 1823 5
Edward Hooper 1818 - 1819 1 quitted the parish
Frederick Blount 1819 - 1828 9 6 15 4/6/1813 son of John & Ann, Organist
Richard Reynolds 1819 - 1827 8 7 15 3/8/1817 (5 yrs) son of Richard & Ann, Butcher
Joseph Harris 1820 - 9 18/1/1811 son of James
Henry Ayres 1821 - 1825 4
Henry Blount 1823 - 1831 8 6 14 4/2/1817 son of John & Ann, Organist
Henry Reekes 1823 - 1829 6 8 14 22/4/1815 son of John & Maria, Tailor
Robert Ayres 1825 - 1831 6
John Spence 1827 - 1830 3
Richard Hoskins 1827 - 1831 4 10 14 7/9/1817 son of Joseph & Mary, Labourer
Frederick Page 1828 - 1832 4 10 14 27/9/1818 Son of Thomas & Mary
Henry Frampton 1830 - 1835 5 11 16 20/12/1819 John & Sarah
Wm Warland 1830 - 1836 6 10 16 1820 son of John & Anne, Painter
Frederick Freeman 1831 - 1832 1 11 12 26/4/1820 William & Anna, in Blandford
Thomas Keeping 1831 - 1835 4 8 12 17/11/1823 Joseph & Mary
Richard Reeks 1831 - 1838 7 8 15 21/7/1823 son of John & Maria, Tailor
Henry Warland 1832 - 1838 6 10 16 30/12/1822 son of John & Ann, Glazier
Charles Burrows 1832 - 10 1/12/1822 son of Charles & Anne, Joiner
John Seward 1835 - 1839 4 10 14 14/8/1836- ill health, son of John Glyde & Mary,
b16/9/1825 Cooper
Benjamin Harris 1835 - 11 4/1/1824 son of Thomas & Maria, Baker
James Sims 1836 - 1838 2 12 14 5/9/1824 James & Ann, Carpenter
Frederick Barfoot 1838 - 10 1828 * John & Mary, Surveyor of taxes
James Barfoot 1838 - 1845 7 8 15 1830 * John & Mary, Surveyor of taxes
George Stay 1838 - 10 1828*
Stephen Budden 1839 - 11 1828*
Henry Stodart -1841 1826* voice broken. Son of John &

Catherine, Tailor
Frederick Budden -1841 15 20/8/1826 son of Stephen & Sarah, Carpenter
Robert Freeman 1841 - 1847 6 10 16 7/9/1831 son of William & Jane, Surveyor of
roads
John Eaton 1841 -
George Stodart -1845
William Suchland 1845 -
Wm Henry Reeks 1845 - 1851 6 9 15 10/5/1836 son of John & Jane
21
Chapter 2

boy
Frederick Seward 1847 - 11 14/8/1836 son of William & Jane, Tailor
Henry Chislett -1849
Thomas Kellaway 1849 -
Samuel Stodart -1850
Charles French 1850 -
Matthew Blount 1851 -
We now focus only on the years 1660 - 1810. By removing all choristers for whom we do not have
a reliable date of joining or leaving, or of baptism, we come to the following list of 51 choristers
for whom we can, with reasonable security, give an age range for their time in the choir.
Table 2 - choristers with full date information 1663-1810
Name Time as Years Age Age Baptised

boy
William Pope 1663 - 1669 6 8 14 20/6/1655
Richard Thedam 1664 - 1672 8 8 16 30/6/1656
John Thedam 1664 - 1675 11 8 19 4/5/1656
Richard Russell 1668 - 1673 5 14 19 26/6/1654
William Russell 1673 - 1678 5 11 16 11/1/1662
Fardinando Silver 1678 - 1685 7 10 17 28/3/1668
James Purchase 1679 - 1688 9 10 19 4/5/1669
John Brown 1685 - 1691 6 11 17 Apr 1674
Edward Guy 1688 - 1691 3 8 11 ?/9/1680
John Willis 1691 - 1698 7 10 17 21/7/1681
Roger Tilsed 1708 - 1710 2 12 14 Apr 1696
John Barnes 1711 - 1719 8 10 18 2/7/1701
Roger Gill 1712 - 1722 10 9 20 ?/2/1702
John Willis 1719 - 1728 9 8 17 22/11/1711
Nicholas Russell 1725 - 1731 6 12 18 13/9/1713
John Harwood 1725 - 1731 6 10 16 29/12/1715
Thomas Harwood 1725 - 1731 6 9 15 11/1/1716
Roger Willis 1731 - 1741 10 7 17 12/11/1724
Reuben Gill 1731 - 1741 10 10 20 27/6/21
Robert Gill 1741 - 1747 6 14 20 15/6/1727
John Tilsed 1742 - 1748 6 10 16 29/3/1732
22
Chapter 2
Name Time as Years Age Age Baptised

boy
John Mitchell 1743 - 1751 8 10 18 10/7/1733
Peter Fabian 1747 - 1757 10 8 18 26/4/1739
Richard Combes 1748 - 1755 7 8 15 22/5/1740
William Thorn 1755 - 1763 8 10 18 7/1/1745
John Harvey Willis 1759 - 1766 7 11 18 11/1748
John Oakley 1759 - 1765 6 11 17 29/9/1748
Richard Austen 1763 - 1766 3 11 14 30/3/1752
George Dike 1766 - 1773 7 9 16 9/2/1757
George Cherrett 1769 - 1773 4 13 17 30/11/1756
Joseph Hookey 1769 - 1769 1 12 12 20/9/1757
James Hardey 1773 - 1776 3 12 15 29/6/1761
Richard Tory 1778 - 1784 6 9 15 26/11/1769
William Mitchell 1778 - 1782 4 12 16 29/12/1766
Charles Tory 1780 - 1784 4 10 14 27/11/1770
Edward Hart 1780 - 1785 5 10 15 13/3/1770
Richard Poiter 1784 - 1787 3 11 14 12/9/1773
John Bessant 1785 - 1790 5 11 16 12/1/1774
Richard Reekes 1787 - 1790 3 11 14 15/12/1776
Richard Reynolds 1790 - 1793 3 11 14 24/5/1779
John Reeks 1790 - 1799 9 9 18 6/4/1782-b13/9/1781
Charles Dyke 1790 - 1798 8 11 19 28/12/1779
Thomas Drew 1790 - 1793 3 12 15 21/7/1778
John Hooper 1793 - 1803 10 7 17 13/2/1786
William Painter 1793 - 1800 7 11 18 28/1/1782
James Hooper 1793 - 1796 3 9 12 14/4/1784
William Barfoot 1799 - 1805 6 9 17 7/8/1791
George Belben 1803 - 1810 7 8 13 8/2/1797 16 months
John Harvey 1803 - 1806 3 7 10 28/3/1796
Benjamin North Jun 1806 - 1809 3 7 10 23/8/1799
John Smith 1809 - 1810 1 11 12 8/1/1798
This shows an average age on joining of 10, and on leaving of 15 years, 8 months.
23
Chapter 2
The following table shows the number of choristers joining and leaving the choir at particular
ages.
Table 3 - Ages of joining and leaving
Joining Age Number Leaving Age Number
7 4 10 2
8 8 11 1
9 6 12 3
10 12 13 1
11 12 14 7
12 6 15 6
13 1 16 7
14 2 17 9
18 8
19 4
20 3
This shows us that a significant proportion of boys (48%) joined at the ages of 10 and 11, rising to
76% between 8 and 11. The dates of leaving are more widely spread, but the bulk lie within the
range 14 - 18 years (72%). There are outliers in both directions, and some of these could of course
be accounted for by the approximate nature of the data. The three boys who left the choir aged
20 were all of the same family. Roger Gill, the earliest example, spent eleven years as a treble in
the choir, from age 9, later becoming a singing man. The later two were brothers, sons of the
singing man John Gill. We cannot know whether they were genuinely singing treble at that age.
Perhaps genetics is at play, perhaps an important choir family (whilst the brothers were in the
choir, half of the back row was made up of Gills, as indeed it was for 38 years) was able to hold on
to the posts even after the boys were no longer able to contribute properly.
However, the evidence here, for all its statistical unreliability, strongly indicates a much older age
profile than would be experienced by a 21st century cathedral or parish choir. 36
36
Mould, The English Chorister, 230-31. The modern cathedral choir is often tied to the prep school system,
capping the age of boys at 13, though practical experience is that many boys do not keep their treble voice
to the end of their tenure.
24
Chapter 2
Table 4 - length of time in choir statistics
Years in choir Number
1 5
2 1
3 11
4 6
5 6
6 15
7 8
8 4
9 3
10 5
11 1
5.8 Average
For length of time in the choir we have a larger statistical sample. We have reliable dates of arrival
and departure for 63 choristers. There is considerable variability in the length of tenure, indicating
a less formalised structure than would be expected in a modern cathedral or collegiate choir. A
significant number (27%) did not remain for more than three years, in which time it may be
supposed that their musical contribution to the choir may have been somewhat limited. However,
37% sang for six or seven years, which is longer than a modern average, as is the overall average
of nearly six years.
It is interesting to look at the longest serving members, the eight who were in post for nine, ten or
eleven years. They were:
John Thedam (11), Roger Gill (10) John Willis (9), Roger Willis (10), Reuben Gill (10), Peter Fabian
(10), John Reeks (9) and John Hooper (10).
Apart from Peter Fabian these were all from strong Minster Choir families, with parents and other
family members in the choir. Roger Gill, Roger Willis and John Reeks also went on to become
singing men. Whether these singers were kept on the payroll until a singingman position became
vacant, beyond their useful life as a treble, is impossible to know, but must make us a little
cautious about the more extreme ages in the data.
25
Chapter 2
The reasons for choristers leaving are rarely given. John Oakley, was 'discharged as unfit', though
it would seem much more likely that this is to do with a broken voice than competence, as he had
been in the choir for six years, from ages 11 to 17. Sometimes choristers are described as having
'resigned', though details are not given, so it may be that a vocal break brought on the
resignation. In eleven instances it is explicitly stated that boys' voices have broken. Of those we
have five ages - one 12-year-old, one 14-year-old and three at 18.
Within the main list, we see 76 different surnames. Of those, some families are extremely well
represented, with 9 Willis, 7 Gill, 5 Harvey and Pope, and 4 Brown(e), Mitchell, Oakley, Reeks and
Thedam. It is notable that these family names also have a considerable presence amongst the
singing-men and clerks, indicating the extent to which the choir functioned as a 'family business'.
Two of these family names, Pope and Thedam, were also prominent in choir records before the
Commonwealth. 37
As an example of the importance of families in the choir of Wimborne in this extended period,
one particular 'dynasty' will serve. In the first wave of choristers to be appointed after the
Restoration was a John Willis, in 1663. He went on to become a Singingman and then a Clerke,
dying in post in 1719 after 55 years of membership of the choir. However, his genes can claim
more than twice that length of involvement, as his great grandson John Harvey Willis left the choir
in 1781 in his early thirties. In total, there were nine members of the Willis direct line in the choir.
In addition to the records of the Minute Book we also have two Willis signatures in the alto part
book P34 - those of Roger Willis, and of John Willis, dated 1766. 38
37
Cornish-Dale, ‘Migrations of the Holy’, 187
38
Wimborne Minster Chained Library P34
26
Chapter 2
John Willis
Singingboy 1663
Singingman 1672
Clerke 1699
Died 1719
John Willis
Roger Willis
Baptised 21/7/1681
Singingboy 1690
Singingboy 1691
Clerk 1719
Singingman 1699
Died 1732
Died 1711
John Willis Roger Willis Thomas Willis

William Willis
Baptised 22/11/1711 Baptised 14/11/1724 Baptised 19/1/1725
Baptised 21/2/1721
Singingboy 1719 - Singingboy 1731 Singingboy until
Singingboy 1731 -
1728 Singingman 1741 1742
Died 1764
Charles Willis John Harvey Willis

Baptised 25/2/1745 Baptised Nov 1748
Singingboy 1757- Singingboy 1759
c1761 Singingman 1766
Clerke 1770 - 1781
Figure 1 - The Willis Family
Unfortunately, information about the education of choristers is sketchy at best. Whilst the Royal
Free Grammar School of Queen Elizabeth was under the administration of the Governors, its
potential role in the education of choristers has not been possible to ascertain. As is unfortunately
frequently the case, there are few records of the school, with details of pupils and curriculum
absent, beyond the stipulation that the school should follow the curriculum followed in
Winchester or Eton. 39 The only reference to schooling of choristers contained in the Governors'
minutes dates from 21st November 1711:
four shillings to Jeremiah Farrar to teach the said Roger [Gill] and John Barnes (who is now chosen
a singing boy in the roome of James Gill) for to teach them to write. 40
39
For speculation on the relationship between the Grammar School and the Minster choir in an earlier
period, see Cornish-Dale, ‘Migrations of the Holy’, 180-181.
40
DHC PE-WM/GN/2/1/1
27
Chapter 2
Jeremiah Farrar was the schoolmaster at the Pamphill Almshouses, another charity managed by
the Governors providing for a home for 8 worthy poor men and women, and an elementary
school. This was founded under the terms of the will of Roger Gillingham in 1695. 41 Whilst no
further references such as this appear, it may be that the school was involved in the education of
choristers in addition to, or perhaps instead of, the Grammar School.
The responsibility for training the choristers for their choral duty naturally landed on the
shoulders of the organist. It is first mentioned in the same meeting in 1711, where Mr Day, the
organist, is given extra payment for undertaking this. 42 There are references throughout the
period to the rehearsing of boys, often taking place on a Saturday morning.
In addition, there are references to the organist occasionally receiving part of a singing man's fee
in recompense for time spent training him. From 4th January 1769:
Ordered that Isaac Hooper, a Candidate for a Singing Man's place, do attend our Organist Mr
Combes twice a week to be instructed in Singing the Services of the Church until St Thomas Day
next, when, if approved of by us as capable he is to be chosen Singing Man of this Church. But his
year's Salary to that time is to be paid to our said Organist for his trouble in instructing and
qualifying him for such place. But if disapproved of and rejected as incapable, then our Organist to
have such satisfaction only, as we shall think proper. 43
This in-house training leads us on to the selection, background and education of the singingmen
and clerks.
41
DHC PE-WM/CH/1/1/1
42
DHC PE-WM/GN/2/1/1
43
ibid
28
Chapter 2
2.4 The Men
Table 5 is a list of singingmen and clerks from 1658 to 1851. Listed is any time they spent as a
chorister, and their time in either of the two adult roles, which will be explained below. The
information is again taken from the Governors’ records.
Table 5 - the Singingmen and Clerkes of Wimborne Minster 1658 - 1851
Time as Time as
Name Time as Clerk
Singingboy Singingman
Nicholas Pope -1672

Edward Foster 1658 - 1660
Robert Pope 1658 - 1660
Robert Higdon 1661 - 1682
Nicholas Pope 1660 - 1671
Richard Thedam 1663 - 1665
Nicholas Thedam 1663 - 1668
John Willis 1664 - 1672 1672 - 1681 1681 - 1719
Joseph Oates 1664 - 1665 1666, 1673-1675
Richard Thedam 1665 - 1672 1672 - 1673
John Thedam 1665 - 1675 1675 - 1676
Thomas Browne 1666 - 1671 1671 - 1688
Henry Pope 1667 - 1672 1672 - 1681
William White 1669 - 1672
Richard ?T? 1672 - 1673
Christopher Shipton 1672 - 1678 1678 - 1682 1682 - 1741
Ausutus/in Smallwell 1673 - 1680
Richard Browne 1672 - 1680 1780 only
Nicholas Chedaw (-1684)
William Hill 1680 - 1683
Jeffrey Harvey 1681 - 1696
Will Hazard 1696 - 1719
Henry Gould 1683 - 1694 1694 - 1699
James Purchase 1677 - 1678
Robert Higdon 1678 - 1683 1683 - 1688 1688 - 1694
29
Chapter 2
Time as Time as
Name Time as Clerk
James Purchase -1688 1688 - 1699 1699 - 1729
Sam Harvey 1694 - 1720 44
Roger Willis 1690 - 1719 - 1732
John Willis 1691 - 1698 1699 - 1711
William King 1698 - 1720 - 1729 1729 - 1764
James Gill -1711 1711 - 1732 1732 - 1770
Roger Gill 1711 - 1722 1729 - 1767
John Gill -1718 1719 - 1741 1741 - 1771
James King 1728 - 1734 - 1764 1764 - c1773
Roger Willis 1731 - 1741 1741 - 1764
George Oakley 1744 - 1764 - 1771 1771 - 1773
Isaac Hooper 1767 - 1805
William Thorn 1755 - 1763 1767 / 1773 45 1773 -
Richard Oakley - 1759/61? 1764 -
John Harvey Willis 1759 - 1766 1766 - 1770 1770 - 1781
John Combes -1759 ?1770?
George Hanniford 1773 only
George Matthews 1773-?1776
Thomas Oliver 1769 - 1773 1773 -
George Cherrett 1769 - 1773 1773 - 1781 1781 - 1813
John Hiscock 1773 - -1788
John Harvey 1773 - 1788 - -1805
John Dooson -1776 1780 -
William Hiscock -1780 1780 -
James King -1789
Henry Lacey 1789 - 1790
44
The date 1720 is unclear, and could be 1710. This also affects the date of William King’s appointment as
singingman. Either option is plausible.
45
William Thorne and Isaac Hooper were both on probation for one place in 1767, with the latter finally
being appointed. William Thorne gained a place as singing man in January 1773 and was promoted to Clerke
in September of that year.
30
Chapter 2
Time as Time as
Name Time as Clerk
Edward Hart 1780 - 1785 1790 - 1793
John North 1793 - 1794
John Reeks 1790 - 1799 1800 - 1813 1813 - 1841
Charles Dyke 1790 - 1798 1798 - 1805 1805 -
William Reeks -1794 1798 - 1800 1800 - 1813
David Butler -1803 1805 - 1820 -
George Belben 1803 - 1810 1810 -
John Clench 1805-1810
Samuel Roberts 1813 -
William Thorne 1813 - 1815
James Hardey -1804 -1814
John Eaton 1814 -
John Miles 1814 - 1820
Whiffen 1815 -
William Miles -1819
John Fey 1820 - 1833
James Horder 1820 - 1831
John Glyde Seward 1831 – 1841 1841 -
Charles Reekes 1812 - 1823 1833 - 1838
Richard Reekes 1831 - 1838 1838 -
FW Freeman 1831 - 1832 1841 -
Joseph Hitch 1847 - 1848
Thomas Cozens 1848
One of the most notable features when looking at the composition of singing men and clerks is
the preponderance of former singing boys. This is not a surprising phenomenon, as the training of
a chorister would seem to be a natural preparation for life on the back row. However, the degree
of prevalence indicates the lack of any other readily available means of preparation for this role,
and the lack of mobility of singers. There is just noted one example of a singer coming in from a
distance - on January 21st 1773 George Matthews, described as 'of the City of Winchester' was
31
Chapter 2
appointed Clerk. 46 The appointment straight to that role is itself unusual, as most clerks were
promoted from amongst the singing men, exclusively so in the 18th century apart from this
appointment. No record could be found of Matthews within the Cathedral foundation, though he
could have come with training and experience from the College.
Further evidence of the lack of suitable preparation for the choir apart from a singing boy post is
provided from the time of Richard Combes (Organist 1765 - 1798). On St Thomas' Day 1789 Henry
Lacey was appointed Singing Man in place of the longstanding James King, who had been in the
choir an impressive 45 years. However, on the same day in 1790 Lacey was dismissed 'on Mr
Coombes' opinion of his not being competent to that appointment'. His replacement was Edward
Hart, who was a chorister 1780 - 1785. This was no guarantee of the skills required, however, for
he was also dismissed as incompetent. However, that dismissal took three years to come about -
we can only conjecture as to the level of incompetence that allowed him to serve in the choir for
three years, but still caused his ejection from it. He in turn was replaced, on St Thomas' Day 1793,
by John North, who does not previously appear in the record. His tenure was short - a year later
he was dismissed. However, the Minute Book notes a year after that, at the end of 1795, ' It is
ordered that the Receiver do pay unto John North the Sum of Five pounds as a Compensation for
his having stood as a Probationer for a Singingman's Place for the last two years'.
The search for a competent replacement was put on hold on 21st December 1797:
It is agreed that if Mr Coombes's Infirmitys shall continue until the next Easter Meeting, and
he shall not adopt some proper measures for having his Duty as Organist regularly and duly
performed to the Satisfaction of the Governors that they will then proceed to the Election of a
new Organist and a Copy of this Order is directed to be sent to Mr Coombes by the Register. It
is agreed that no vacancy in the Choir shall be fill'd up until the duty of the Organist is better
attended to.
By January 9th 1798 the Governors had received his resignation. Early the next year William Reeks
and Charles Dyke were appointed singingmen. 47 Both were former choristers, both went on to
become Clerks, and Charles Dyke was still in post in 1850. 48
46
DHC PE-WM/GN/2/1/1
47
ibid
48
DHC PE-WM/GN/3/235
32
Chapter 2
2.5 George Combes' Choir
The principal focus of this study is the time of George Combes as organist, 1743 - 1765. This was a
period of great stability in the lower parts of the choir. From 1741 until 1764 the same six men
served as Clerkes and Singingmen. They were
Clerkes William King
John Gill
James Gill
Singingmen Roger Willis
Roger Gill
James King
These men were steeped in the traditions of the Minster. All of them had served as Singingboys
before progressing to the back row, generally without a break, though Roger Gill spent seven
years between his voice breaking and rejoining the choir, and the gap in William King’s career is
indeterminate. Moreover, each one died whilst in his position, at least two, and likely three, of
them having served for over 60 years.
Table 6 - George Combes's singers
Name Baptised Chorister Singingman Clerke Years Died aged
William King June 1688 From 1698 1720 - 1729 1729-1764 66 76
James Gill June 1692 To 1711 1711 - 1732 1732-1770 Over 61 78
John Gill To 1718 1719 - 1741 1741-1771 Over 53
Roger Gill Feb 1702 1711-1722 1729-1766 56 65
James King 22/6/1719 From 1728 1734-1764 1764-1773 45 54
Roger Willis 14/11/1724 1731-1741 1741-1764 33 40
This stability allowed for an adventurous music programme. It has already been noted that strong
forces were required for George Combes' setting of the full Anglican service in A. The range of
music composed for the choir, including virtuosic solos work, can be seen in the edition of his
works.
33
Chapter 2
The members of the choir named above have left traces elsewhere in the records, allowing us to
glean information about their other activities and employment.
John Gill is often mentioned in the Churchwardens’ Accounts, partly as he rented a house from
the church, at an annual rate of £1, 13s 4d. 49 He appears to take on a wide range of tasks. The
Churchwarden's accounts of 1745 - 1750 list payments to him for 'two gates in the churchyard -
16 shillings' as well as other repairs in the grounds and houses belonging to the church. He was
also paid for 'collecting some arrears due to the church', indicating the administrative trust placed
in the clerks of the church. In that year he received £4 10s for this additional work, as well as his
Clerk's salary of £8. He is often noted as collecting arrears; later in his life William Gill and John Gill
junr were frequently employed for manual work. 50
The presence of a name such as this in the Churchwardens’ accounts must be treated with
caution, as is shown in 1744-1745. There, we have two adjacent entries, reading:
John Gill for a Right in the Seat no 8 North side Middle Ally for the life of his son William 0-10-0
William Gill son of John Gill Wheelwright for a place in Scollars Ally no 6 0-1-0 51
These are clearly two father-son pairs of the same name. It might be reasonable to suppose that
the John who was less familiar to the church was defined by his profession. There was a John Gill
who was a shoemaker at this time in Wimborne, as shown in an apprenticeship indenture of
1729. 52 We will see below that this may have been a family business.
William King was a tailor. There are several payments to him for 'making the Pall' (1758 - 1759); 'a
loop and string for the pulpit' (1751 - 1752); 'for mending Mr Trahern's and Mr Swan's hoods'
(these were two of the Presbyters) and 'for making a Minister's hood' (1748 - 1749). 53 Roger Willis
is referred to in the Governors’ Minutes of 1757 as a cooper. 54
For Roger Gill we only have one rather curious reference, in this case from Hutchins' History of
Dorset: 55
49
DHC PE-WM/CW/1/43
50
DHC PE-WM/CW/1/44
51
DHC PE-WM/CW/1/43
52
DHC PE-WM/OV/11/1/129 Apprenticeship indenture of Anne Forrest – Apprenticed to John Gill,
shoemaker, and his wife Mary, 13th June 1729
53
DHC PE-WM-CW/1/43-44
54
DHC PE-WM/GN/2/1
55
Hutchins, History and Antiquities
34
Chapter 2
In October 1767, died here, Roger Gill, shoemaker, a native of this place, and one of the singing men
belonging to the church, aged about 67, remarkable for chewing his meat or cud twice over, like an
ox or sheep. Being examined 1765, when he was 64 years old, he said, he seldom made any
breakfast in his latter days. He generally dined about twelve or one o'clock, eat pretty heartily and
quickly, without much chewing or mastication. He never drank with his dinner, but sometime
afterwards about a pint of such malt liquor as he could procure. He had an aversion to all kinds of
spiritous liquors; nor did he ever take them in any shape, except a little punch, and was never fond
of that. He eat but little butter; pease, pancake, and freshwater fish, he could not touch, except a
little bit of broiled eel, they all returning greasy into his throat. He ate all garden stuff, except carrots.
He usually began his second chewing about a quarter or half an hour, sometimes later, after dinner,
when every morsel came up successively sweeter and sweeter to the taste. Sometimes a morsel
would prove offensive and crude; in which case he spit it out. The chewing continued usually about
an hour, or more; and sometimes would leave him a little while, in which case he would be sick at
stomach, troubled with the heart-burn, loss of appetite, foul breath, &c. Smoking tobacco would
sometimes stop his chewing, but was not attended with any ill consequences. On the 10th day of
June, about four months before he died, this faculty of chewing entirely forsook him, and the poor
man remained in great agonies till the time of his death. He was some years ago examined as to this
case, by Dr Archer, of Dorchester, Thomas Baskett, surgeon, and Nicholas Russell, attorney at
Wimborne, and last by Mr Russell's son, to whom he produced a morsel of beef and cabbage which
stuck in his stomach while he was talking to him about it.
One fact we can, with confidence, take from this tale - he was a shoemaker, as was John Gill.
However, we perhaps should not be so quick to dismiss this anecdote. Whilst of course anything
can be found on the internet, there is discussion of this subject, with many people sharing their
own experience of this phenomenon. 56 Furthermore, research into autistic spectrum disorders
indicates that rumination occurs in 6%-10% of autistic children. 57 Perhaps this is the genuine
experience of Roger Gill.
We have then a picture, familiar to scholars of the eighteenth century, of the 'middling sort'.
Craftsmen and traders closely woven into their community, for whom the choir at the Minster
was an opportunity for education and social advancement, as well as a valuable source of extra
income. What is less familiar is the remarkable level of music making that was resumed at such an
early date after the Restoration, and continued with such vigour throughout the Eighteenth
century, when many cathedrals were noted for a rather lacklustre offering. It is also remarkable
56
https://patient.info/forums/discuss/chewing-cud-and-human-beings--296999 accessed 31/08/2021. My
thanks to Kate Andrews for suggesting this line of thought.
57
https://eatingdisordersreview.com/a-broad-view-disordered-eating-on-the-autism-spectrum/ accessed
31/08/2021
35
Chapter 2
that this tradition was able to sustain itself with so little input from outside, the musicians
growing organically, as it were, from the soil of Wimborne.
2.6 The Organists
The Minster organists across the broad period of this study are as follows:
Table 7 - The Organists of WImborne Minster from the Restoration to the mid-19th century
1664 John Silver
1695 George Day
1713 John Fyler
1743/4 George Combes
1765 Richard Combes
1798 William Mitchell
1808 John Wright Blount
1835 Frederick Stanley Blount
The degree to which the Minster choir operated as a ‘closed circuit’ is clear from the details in the
previous sections. I have discussed the preponderance of former choristers filling the adult posts
in the choir, and the table of choristers demonstrates the proportion of boys in the choir from the
singing families. That this is a tradition of long standing is established in the work of Charles
Cornish Dale on the earlier history of music in the Minster. 58 Of the 26 choristers he is able to
identify by name before 1640, ten are the children of clerks.
However, the Minster did not function entirely without outside influence or expertise. The leaders
of the musical establishment, the organists, were frequently brought in from outside institutions,
and carried with them experience of cathedral life. The greater responsibility, and concomitant
salary, of the post meant that its holders tended to relocate to take up its benefits, bringing with
them a greater degree of professionalism than might have been found locally. Their origins
demonstrate the spheres of influence within which Wimborne moved, which are not entirely
along the lines expected by geography or ecclesiastical organisation. From 1542 Wimborne lay in
the diocese of Bristol, although, as a Royal Peculiar, it was not under its direct control. At around
58
Cornish-Dale, ‘Migrations of the Holy’ ch VI
36
Chapter 2
70 miles distant, it is unsurprising that this was not the most influential of the region’s cathedrals
on Wimborne’s music across the centuries, though the next chapter will demonstrate its crucial
input to George Combes’s development, and what that brought to the Minster. The nearest
cathedral, just 25 miles away, is Salisbury, and more influence can be seen here in the
appointment of one organist, George Day, and in the influence on concert life discussed in the
next chapter. However, it was Winchester Cathedral and College, 38 miles to the north-east, that
had the longest-lasting effect on Wimborne’s music. Cornish-Dale highlights the modelling of the
Grammar School curriculum on that of Winchester, and discusses the ‘star signing’ of William
Emes from Winchester in 1610. 59
It was to Winchester that Wimborne turned again after the Restoration. The appointment of John
Silver in 1663 is well documented in Matthews’s The Organs and Organists of Wimborne
Minster. 60 The son of the Cathedral Organist, also John Silver, he was a chorister there from 1640
and a Lay Vicar from 1661, resigning to move to Wimborne. The move from singer at a cathedral
to organist at Wimborne is one we see repeated, giving an idea of the respective importance, and
salary, of those two positions.
The origins of the next two organists of the Minster, George Day and John Tyler are given as
unknown in the Matthews work, though Ian Spink presents some theories. 61 However,
investigations in the archives of Salisbury and Winchester have thrown further light upon them.
Spink speculates that George Day may have had an unsatisfactory probationary year at
Salisbury. 62 However, more detail on this can be found in the Salisbury Cathedral Archives. George
Day is found in a document entitled ‘The Vicars Account Book’. 63 He appears as a character in a
dispute over pay and appointments. The first section reads:
Memorandum, that the Vicars agreed with the Dean and Chapter to give a good Bass 30L a
year Provided that they did keep another place void there being two places void at that time,
And they send to Oxford for Mr Hall and admitted him a Lay Singing Man at 30L a year also
59
Ibid 187-188
60
Betty Matthews, The Organs and Organists of Wimborne Minster, (Wimborne: Minster Press, 2002), 28.
The original document relating to this appointment in DHC PE-WM/GN/2/2/5
61
Matthews, Organs and Organists, 29; Ian Spink, Restoration Cathedral Music, (Clarendon Press, Oxford,
1995), 411
62
Spink, Restoration Cathedral Music, 411
63
Salisbury Cathedral Archives CO/VC/1/3/2 The front cover states ‘Copied March 1802’. Despite this late
date, there is considerable evidence within the contents that the material copied in 1802 relates to this
period, including dated memoranda and details of rents, with two memoranda dated 1806 and 1808 at the
very back. It is a varied collection of details of fees payable for a variety of services, as well as sources of
income and miscellaneous notes.
37
Chapter 2
they admitted George Day to 10L a year, upon which the Vicars carried their Tripartite Writing
to Sr John Hawls, Solicitor General, who upon perusing the writing gave his opinion that we
could not pay less than 20L a year to each of them nor could we be obliged to pay more to
any one of the lay singing men; so we paid the 20L a year each; notwithstanding the Dear and
Chapter admitted them as above written and their Chapter Act was upon the same to oblige
us to pay as above.
John Hawl(e)s was Solicitor General from 1695 – 1702, and MP for nearby Wilton at the time.
Perhaps George Day was not entirely content with the situation, as the next memorandum goes
on:
Memorandum, that George Day Removed to Wimborne and we refused to pay Mr Hall more
than 20L a year because the Chapter Act was made and entered without showing it to us; for
they had put into it that the Vicars did consent to pay Mr Hall 30L a year out of their own
proper estates but did not mention that it should only be while there was a place void, so that
for half a year they paid the over plus of 30L a year and then the Dean of Chapter made
another Act which they read to the Vicars at Whitby House before they enter’d it into their
book. And inserted the clause that the Vicars did consent to pay both to Mr Hall while there
was a lay place void and no longer.
Day’s experience at Salisbury therefore seems to be short-lived – he was appointed at Wimborne

in 1695, and he clearly did not have as much respect from the Vicars Choral at the former as did
Mr Hall. Perhaps he would have got his £20 if he had stayed, but the increase of salary at
Wimborne was clearly enough. It is also possible that Wimborne allowed him a better outlet for
his talents than Salisbury, and his attractive compositions in the partbooks indicate a gifted
musician.
Another move from cathedral to church is seen in the case of the next organist John Fyler,
returning us again to Winchester. There was a chorister there of that name from 1704 – 1708,
who then became a singing man until 1713, when Thomas Waghorn was appointed in his place. 64
This ties in with the appointment of John Fyler as Organist at Wimborne that year. This move is
again an indication that Wimborne was a serious enough musical institution to attract a member
of an ostensibly more prestigious organisation. 65
64
Winchester Cathedral Chapter Act Book, held at Hampshire Record Office, DC/B3/4 f54v – f83r
65
I suggest that Spink’s speculation that Fyler could have been a son of the Salisbury succentor from 1683 –
1703, Samuel Filer, is superseded by this new, more convincing evidence. Spink, Restoration Cathedral
Music, 411.
38
Chapter 2
The first two of these organists left music in the manuscript part books, George Day most
extensively. John Silver’s contributions to the books are likely to have been his father’s work. 66
These contributions left a lasting mark on the Minster’s music, bringing the influence of their
previous places of work with them. The continued importance of Winchester to the musical life of
the Minster can be seen in the contents of the part books, in particular the extensive copyings of
music by Kent, organist of Winchester Cathedral 1737-1774.
A different pattern is seen in the case of George Combes, for whom no musical record has been
found before his time at the Minster. However, cathedral influence continued in his time through
tenures at Bristol, which will be considered in the next chapter. From this point there was an
extent to which the Minster became self-sufficient even in organists, with George Combes being
followed by his son Richard, who in turn was succeeded by another former Minster chorister,
William Mitchell in 1798. Furthermore, Wimborne itself provided the first post-restoration
organist to another nearby major church, Christchurch Priory. William Hiscock became organist
there in 1788 after time in the Minster choir as chorister and singing man.
2.7 The Organ
An assessment of the musical life of the Minster would of course be incomplete without a
mention of the organ. After the ravages of the civil war and Commonwealth, Wimborne was the
first church in Dorset to build a new organ. Sherborne Abbey was next, with a modest instrument
built in 1700, but it was not until the end of the eighteenth century that the organ began to have
a wider presence in Dorset. Organs were built in Lulworth Castle (Seede, 1785), Christchurch
Priory (Cummings, 1788), Blandford Parish Church in (England, 1794) and St James’s Poole
(England, 1799). 67 There is a significant Wimborne connection with the first two of these, Richard
Combes teaching the children of the Weld family in Lulworth, and a former Minster chorister,
William Hiscock, being the first organist of Christchurch Priory since the Commonwealth.
Details of the organ have not been a major part of my researches, a fact that is, in itself,
significant. Apart from five items in the earliest organ book, solo repertoire does not form a part
of the musical sources, and the function of those early voluntaries was subsumed by a choral item
in later years (See ‘Sanctus’ in the Critical Commentary). The organ was very much an adjunct to
the choral part of the liturgy. However, it was essential to worship, and the delaying of the
66
Spink, Restoration Cathedral Music, 362-3. Spink points to the bass partbook of Winchester provenance
Ob Tenbury 1442 which contains the service setting and three of the five anthems found in the Minster
partbooks.
67
National Pipe Organ Register, npor.org.uk, accessed 1/5/23
39
Chapter 2
Friendly Society festival awaiting the 1764 rebuild indicates that it was valued in concert life as
well, although its mention in press reports is limited to a reference to a ‘grand charge upon the
organs’. 68
As part of the recent rebuild of the instrument, a comprehensive assessment of the old pipework
still in use was undertaken by Dominic Gwynn, with the report in progress. 69 Significant amounts
of the pipework from 1664 and 1764 have remained within the organ through 19th, 20th and 21st
century rebuilds. Although, inevitably, the conclusions that can be drawn from them are
somewhat shrouded by their changes in use, this work should provide a more detailed picture of
the instrument’s development.
Although the specification is unknown, we can be certain from a drawing in the Sperling
Notebooks that it was a two manual instrument, with a main and chair case facing eastwards from
a screen in the eastern arch of the crossing. 70 This is supported by remaining pipework identified
from that period, with evidence of at least eight ranks surviving at least in part, and by the
presence in the organ book P10 of a voluntary for double organ by Richard Portman. It would
have been pitched in ‘gamut in Dsolre’, meaning that the organist would play C but hear a (sharp)
F, and would have transposed choral accompaniments to produce choir pitch. 71 The presence of
10 foot pipes means that by transposing down a fifth, rather than up a fourth, the organist would
have had access to notes an octave lower than the vocal range.
The organ was rebuilt and enlarged by Brice Seede in 1764. Significant additions were a swell
organ and a west facing case, shown below. 72 The latter could be an indication of a growing
interest in congregational singing, which could be linked to the set of books of metrical psalm
tunes started at around this time, O11-O12 and O18-O20, discussed in Chapter 4. 73 Likely
additions are a trumpet stop and extra mutations. There are mentions of both the trumpet stop
and the swell organ in the later organ books. At this point the pitch is likely to have been reset.
The ‘transposing’ element would have been removed, and the overall pitch lowered by a tone, the
great and choir keyboards being given a GG compass, with the swell extending to ‘fiddle g’.
68
Salisbury Journal, June 21st, 1756. See Chapter 3.2
69
I am grateful to Dominic Gwynn for sharing his insights and early findings with me.
70
James Boeringer Organa Britannica : Organs in Great Britain 1660-1860 : A Complete Edition of the
Sperling Notebooks and Drawings in the Library of the Royal College of Organists. (Lewisburg : London and
Toronto: Bucknell U P ; Associated University Press, 1983). The specification given for this organ in
Matthews Organs and Organists p9 and the online National Pipe Organ Register is entirely speculative.
71
Andrew Johnstone, “‘As It Was in the Beginning’: Organ and Choir Pitch in Early Anglican Church Music.”
Early Music 31, no. 4 (2003): 507–25.
72
Nathaniel Whittock, Views of the exterior and interior of the Collegiate Church of St Cuthberga, Wimborne
Minster, Dorset (1839)
73
Temperley, The Music of the English Parish Church, ch6
40
Chapter 2
The rarity of the organ in the region further underlines the distinctiveness of the offering at
Wimborne. The delivery of the ‘cathedral style’ of service demanded the use of an organ. While
there were clearly periods in time when the organ was beset with mechanical failings, the Minster
was at pains to maintain it, spending significant sums on upkeep. 74 This culminated in a rebuild in
1764 that produced an instrument that rivalled any of the nearby organs built in the coming
decades, maintaining Wimborne’s position as the foremost musical church in Dorset.
74
Details of various tuners and of routine and major work across this period are given in Matthews Organs
and Organists p8-11
41
Chapter 2
Figure 3 - the west-facing case of Seede’s

1764 organ, from the Sperling
Figure 2 - The east-facing case of Hayward's
notebooks
1664 organ, from the Sperling
notebooks
Figure 4 - A view of the organ and screen Figure 5 - A drawing by Whittock across the
from the nave, drawn by transepts, showing the western
Nathaniel Whittock end of the screen and case
42
Chapter 2
2.8 Conclusion
These findings lead us to a number of conclusions about musical life in Wimborne in the
eighteenth century, its relationship to the wider musical world, and its standing in the traditions
of ecclesiastical music making as they stood at the time. It is clear that music was energetically
pursued in the Minster, with none of the empty pews described in contemporary cathedrals. The
stability in the men of the choir, combined with their almost exclusive origins from amongst the
choristers could imply a somewhat insular and stultified institution. However, I would contend
that the musical output implied by the extensive part books and by compositions specifically for
the choir rather demonstrate that this was a successful and sustainable model for the choir. It is
clear that the importance of wider experience was appreciated at the Minster, with organists
sought out who had experience of the larger institutions of Salisbury and Winchester to bring
musical life to the church. The next chapter investigates in more detail the exception to that
pattern, and looks closely at the influence of another major musical centre.
43
Chapter 3
Chapter 3 George Combes and the Friendly

Society
This chapter has two related aims: firstly, to shed light on the life of the composer central to this
thesis, George Combes; secondly, to describe a remarkable flowering of musical life in Wimborne,
the annual meeting of the Friendly Society.
An extensive search of the archives of Salisbury and Winchester Cathedrals has thrown up no
evidence of George Combes, setting him apart from all of the previous post-Restoration organists
of Wimborne Minster, each of whom was linked with one of those institutions. However, the
more local Parish Registers, alongside records of the Minster Governors and Churchwardens, and
probate records, provide a weight of evidence that links Combes through family ties to Wimborne
long before his appointment at the Minster. Whilst definitive conclusions cannot be drawn, there
is sufficient support for the theory that George Combes was a member of a prominent local
family, that he received his training elsewhere, and that he retained connections and influence in
Wimborne during periods working elsewhere.
As well as setting out conclusions about his background from the records that are available, I will
look at his later professional career. This will show a pattern of regional connections enabling
new, and at times more complex, music to reach Wimborne. I will show that this cultural
phenomenon and the life and experiences of George Combes are inextricably linked, with Combes
proving a driving force in the artistic life of Wimborne.
Newspaper archives of the Salisbury Journal (later the Salisbury and Winchester Journal) and the
Western Flying Post or Sherborne and Yeovil Mercury provide evidence of an increasingly involved
annual musical celebration in Wimborne, which shows clear parallels to the rising music festivals
across the country. Direct references to his involvement, as well as the dating of these events,
show George Combes to be an integral part of their development. This is particularly clear after
the experiences of his first period in Bristol. I describe the evolution of this festival, demonstrating
the influence the exposure to the musical life of Bristol had on Combes and on the musical life of
Wimborne, and place the event in a broader regional context.
45
Chapter 3
3.1 A Biography of George Combes
3.1.1 A short biography
The evidence shown below is complex, and not absolutely definitive. However, it contains enough
to suggest the following short biography of George Combes.
He was born in 1720, the son of William Combes, a yeoman who took a seat as Governor of the
Minster in 1743. He had siblings John, Richard and Sarah, although Richard died aged around 6,
and a younger half-brother Thomas. His wife was called Ann/e, possibly Anne Willis who married
a George Combes in Gussage All Saints on 3rd May 1739. They had two sons, Richard in 1740 and
John in 1743. Both went on to sing in the Minster choir, with Richard eventually succeeding
George as organist.
Of his education nothing is known, except that it did not involve the Minster choir, possibly due to
the social status of his family. His presence in Wimborne before his appointment at the Minster is
evidenced by his sons’ appearances in the baptismal records, and by two references in the
Governors’ Minute Book to him providing music.
In 1743/4 he was appointed Organist of Wimborne Minster, retaining the post for 21 years. He
left a major legacy in the form of three complete sets of service music, six anthems and a number
of metrical psalms and other liturgical items, all transmitted uniquely through the Minster
partbooks.
In 1756 he went to Bristol as Organist at the Cathedral. While there he also held a number of
other posts, and was involved in performances of Handel oratorios. He did not relinquish his post
at Wimborne, his duties most likely being covered by his son Richard. He returned to Wimborne in
1759, and the musical life of the town benefitted from his experiences in the city. 6 years later, in
1765, he made a final move to Bristol, being replaced formally in his Minster role by Richard, and
died in 1769.
I now examine in detail the evidence supporting these conclusions.
46
Chapter 3
3.1.2 A detailed biography
Investigations into Combes before his appointment to the post of Organist yield a few tantalising
hints, though not the comprehensive information on his background and education that might be
hoped. The Combes name is one that crops up frequently in Wimborne records, beginning with a
land deeds record from 1414. 75 From the beginning of the extant parish records in the 1630s the
family name is well represented, as seen below in Table 1. The frequent appearance of the same
first name in close proximity indicates several branches to the family, or indeed completely
unrelated families, suggested by the presence of paupers alongside the wealthy branches of the
family. That there were wealthy Combeses becomes clear from the later seventeenth century in a
variety of documents. In 1674 papers of the Bankes family of Kingston Lacy record a lease of a
tenement to Richard Combes, yeoman. 76 Records of the Overseers of the Poor record
apprenticeships to Richard Combes, yeoman, in 1696/7 and 1698/99, and to William Combes,
yeoman, in 1718/19. 77
In the ecclesiastical records we see that Richard Combes was churchwarden in 1699-1700. 78 In
1709 Richard Combes of Bothenwood was appointed Governor of the Minster in place of the late
Sir John Hanham. 79 Bothenwood is a farm two miles to the north of the Minster. In 1726 he acted
as Receiver, the member of the Governors nominally responsible for the finances that year.
However, in the minute book for the annual meetings in 1725 and 1726 he inscribed a mark
instead of signing his name as previously, possibly an indication of failing health. His name was
entered and crossed out in 1727, and he is not noted as attending any meetings thereafter. In
1729 he was mentioned as owing tythes of £11-0s-6d for 1722, 1723 and 1724, payable by next
Michaelmas. Finally, in 1730, he was replaced as a Governor on his death by Thomas Deane. We
have to wait until 1743 for a Combes to reappear, this time William Combes, replacing William
Russell.
From the Churchwardens’ records for 1742-1743 we see:
Willm Combes son of Richard for a place in the Head seat against the Great Pillar in the
south side of the middle isle 8s 80
75
Dorset History Centre (DHC) PE-WM/TD/1/16/18. This and the items in the next two footnotes were
found using The National Archives website - https://www.nationalarchives.gov.uk/
76
DHC D-BKL/A/K/646
77
DHC PE-WM/OV/11/1/55, PE-WM/OV/11/1/33, PE-WM/OV/11/1/113
78
DHC PE-WM/CW/1/43
79
DHC PE-WM/GN/2/1/1
80
DHC PE-WM/CW/1/43
47
Chapter 3
This is a prestigious seat at the front of the nave, in the top price bracket for seats, as befits a
prominent local family, especially on the elevation of its head to the ranks of the Governors.
To find out more about William Combes and his relations, we turn to the Parish Records. There
we find the information in the table below.
Table 8 - details relating to Combes family members in the Parish Records of Wimborne Minster.
Surname Record PE-

Entry Date Firstname spelling Father type Notes WM/RE/ 81
1 31 Jan 1638 Mary Combe marriage m William Chambers 1/1
2 27 Nov 1638 William Coombe marriage m Elizabeth Moore 1/2
3 21 Feb 1641/2 Margary Combe marriage m Will Capen 1/2
4 4 Oct 1641 Andrew Combe marriage m Edeth Thedam 1/2
5 29 Aug 1642 Jone Combe marriage m John Rabins 1/2
6 4 May 1643 Jane Coombe marriage m Sampson Elliott 1/2
7 14 Nov 1644 Richard Coombe marriage M Elizabeth Barnes 1/2
8 17 Mar 1660 Alse (?) Combes burial 1/1
9 11 Jan 1670/1 Andrew Coombes William burial 1/1
10 8 May 1679 Richard Coombes marriage m Mary Skott 1/1
11 August 1681 Mary Combs Richard Christening 1/1
12 Mar 1683/4 George Combs Richard Christening 1/1
13 20 Jun 1693 Ann Combe burial 1/1
14 20 Mar 1698/9 Sarah Combes burial wife of Richard 1/3
15 26 Jul 1696 Mary Combes burial 1/3
16 8 May 1701 Richard Combes marriage m Mary Galpin 1/3
17 29 Mar 1703 Richard Combes burial of Houndhill 1/3
18 06 Sep 1703 George Combes Richard burial 1/3
19 23 Jan 1706/7 John Combs marriage m Eliz Sommers 1/3
20 25 Jan 1707/8 Mary Combs John Christening 1/3
21 9 July 1707 Andrew Combes marriage m Margarett Scott 1/3
22 9 Aug 1708 Andrew Combs Andrew Christening 1/3
23 2 Feb 1709/10 Elizab Combs John Christening 1/3
24 9 Feb 1709/10 Eliz Combes John Burial 1/3
25 4 Jun 1711 Margarett Combes Andrew Christening 1/3
26 10 Aug 1711 George Combes William christening 1/3
27 10 Aug 1711 Eliz Combes burial wife of William 1/3
28 12 Aug 1711 Margarett Combes Andrew burial 1/3
29 19 Feb 1711/12 George Combes William burial 1/3
30 27 Jun 1714 Eliz Combes John Christening 1/3
31 18 Jan 1715/16 John Coombs John burial son of John Coombs 1/3
32 8 Nov 1716 Janet(a) Maria Coombs John Christening 1/3
81
These are taken from the Wimborne Minster Parish Records, held at the Dorset History Centre. DHC/PE-
WM/RE/1/1-4. The final column indicates the volume from which the record is taken. They can be accessed
through https://www.familysearch.org/.
48
Chapter 3
Surname Record PE-

Entry Date Firstname spelling Father type Notes WM/RE/ 81
33 12 Feb 1717/18 William Combs William Christening 1/3
34 16 Oct 1718 John Combes burial 1/3
35 4 June 1719 Rebeckah Coombes John Christening 1/3
36 5 Apr 1720 George Coombs William Christening 1/3
37 20 Mar 1721/22 John Coombs William Christening 1/3
38 5 Jan 1724/5 Richard Coombs William Christening 1/3
39 5 Apr 1727 Sarah Coombs William Christening 1/3
40 1 May 1730 Richard Combs burial 1/3
41 22 May 1730 Richard Combes burial 1/3
42 1 Feb 1731/2 Thomas Coombs William Christening 1/3
43 16 Dec 1738 Richard Combs Wm. burial 1/3
44 22 May 1740 Richd Coombs George Christening 1/3
45 3 Jul 1740 Elizth Coombs burial 1/3
46 2 Sep 1741 Jon Combs marriage M Ann Bennett 1/3
47 19 Oct 1743 Jo(h)n Coombs George Christening 1/3
48 11 Sep 1744 Eliz Combes burial wife of William 1/3
49 21 Jun 1745 Wilm Combes marriage M Elizh Hart 1/3
50 8 Aug 1745 Wm. Combes marriage m Mary Goff 1/3
51 19 Nov 1746 Elizth. Combs Wm Christening 1/3
52 24 Mar 1748 Wm. Combes Wm. Christening 1/3
53 10 Sep 1749 Mary Combes Wm. Christening 1/3
54 16 Jun 1750 Wm Combes burial 1/3
55 16 Oct 1751 John Coombs Wm. Christening 1/3
56 11 Nov 1755 George Combes William burial 1/3
57 17 Jul 1760 William Combes burial 1/3
58 4 Sep 1764 Mary Coombs burial widow 1/4
59 28 May 1772 Mary Combes burial 1/4
60 28 Oct 1777 Eliz Combes burial wido' 1/4
61 28 Dec 1777 Job Combes burial 1/4
wido of Mr George 1/4
62 17 Jan 1780 Ann Combes burial Combes
63 9 Sep 1786 William Combe burial pauper 1/4
64 30 Apr 1790 Mary Combe burial pauper 1/4
65 17 Jun 1796 Sarah Combes burial 1/4
late organist of this 1/4
66 2 Jan 1802 Richard Combes burial church
67 20 Jul 1804 John Combes burial 1/4
It must be noted that these records are not absolutely complete, and some pages have illegible
areas. Therefore the lack of a record of a particular person’s baptism or burial can not be taken as
evidence that they did not live their whole life in Wimborne. Equally, the frequent repetition of
first names such as George, William and Richard pose a challenge in identifying particular
individuals and kinship. The variability in surname spelling is also found in the manuscript
49
Chapter 3
partbooks, clearly referring to the same person, and therefore can not be considered indicative of
different identities. I will use the spelling ‘Combes’ as elsewhere.
An important figure to look at is William, the Governor of the Minster appointed in 1743. He is
described as ‘son of Richard’, and it is reasonable to suppose that the Richard referred to was the
earlier Governor. Richard’s will of 1736, lodged at the Prerogative Court of Canterbury, mentions
William as his son and refers to properties in Culverhays, to the west side of Wimborne. 82
William’s will is dated 1750, and we are able to cross-reference it with the parish records. 83 In the
table above, entries 26, 27, 28, 29 and 42 give the births of his children George, John, Richard,
Sarah and Thomas. His first wife, Elizabeth, died in 1744, (we see her grave in the church and a
ringing of the Great Bell in the Churchwarden’s accounts), and he remarried in 1745, to Mary
Goff. 84 His son Richard died aged 8.
This William Combes himself died in June 1750. As well as the Parish Records this is found in the
Churchwarden’s Account for the year 1749 -1750, where there are payments for both the Great
Bell, tolled to mark a death, and for a grave in the church for William Combes. 85 The former cost 2
shillings and 6 pence, the latter 6 shillings and 8 pence. Graves in the church were a mark of
standing in the community, fitting for a Governor. There are no further records of his attendance
at Governor’s meetings from 1749.
We can find out more about his family and status from his last will and testament. It was drawn
up under the jurisdiction of the Prerogative Court of Canterbury on 30th April 1750 in the presence
of Nicholas Russell, a fellow Governor, and John White. This appears in Appendix B. It mentions
sons George, John and Thomas, a wife Mary, a daughter Sarah, and a late father Richard. This is
presumably his predecessor in the role of Governor, as well as in the role of paterfamilias.
Thomas is only afforded one mention, being left all the household goods. As we saw in the parish
records, he was born in February 1731/2, and would therefore be reaching adulthood. A legacy of
household goods would seem fitting, therefore, as would assigning the role of executors to his
older brothers. George and John, having been bequeathed a tankard and six silver spoons
respectively, are then given charge of the estate of leasehold properties. Much of the will is
concerned with the maintenance of Sarah, who is blind, and is to be secured an annuity of £12 for
life. This is to be provided from the rents and profits of the properties, or through their sale and
the calling in of a debt, if more profitable. These properties had previously been bought by
82
The National Archives, Kew (TNA) – Prerogative Court of Canterbury, PROB 11/677/6
83
TNA PROB 11/788/250
84
DHC PE-WM/CW/1/43
85
ibid
50
Chapter 3
Richard, and lie in an area called Culverhays, which is by a chapel and almshouse of the Minster,
St Margaret’s, and now contains Wimborne Cemetery. His current wife, Mary, referred to as ‘my
now wife’, is given a small legacy.
To take a brief side-step, another William Combes married Elizabeth Hart in July 1745 (entry 49).
It seems reasonable to think that the Elizabeth, William, Mary and John of entries 51, 52, 53 and
55 are his, with William’s death recorded in entry 54. Likewise, the listing of the burial of George
Combes in 1755 as ‘son of William’ would indicate an infant burial, rather than an adult, which
may indicate another progeny of this William whose baptism is lost, or never took place (56). The
Churchwarden’s accounts of 1751 – 1752 and of 1755 – 1756 show payments for burial in the
church of children of William Combes. 86 That this Combes had standing in the town is implied by
the listing of another grave in the Minster and a ringing of the Great Bell in 1759 – 1760 for his
death, as well as the graves in church for his two children. 87 After his death, his wife had to move
pews- from the Churchwardens’ accounts of the same year:
of Eliz.th Combes Widow for a right in No ?? from Sir Edward Uvedale's tomb to the
Reading Desk 0-10-0 88
This is not such a prime position as we saw the older William Combes sat in, though you will note
the price inflation of pews over the intervening 16 years.
We come, then, to the main point, the search for George Combes. Within a reasonable timeframe
we first see a George in 1711, entry 26. Unfortunately, his mother would seem to have died in
childbirth (27), and he survived only a few months (28). So we are led strongly to George, the son
of William the Governor, born in 1720 (36).
To move ahead a little, it seems certain that the Richard born in 1740 (44) and the John born in
1743 (47) are George the Organist’s. They both appear in the Governors’ Minute Book when
joining the choir as sons of the organist, and the age ranges are extremely plausible. 89 That this
George is the George born in 1720 is absolutely possible, though would indicate a marriage on the
younger side of average. A marriage is recorded in Gussage All Saints, 8 miles to the north of
Wimborne, on 3rd May 1739 of George Combes to Anne Willis, which may be the union that led to
86
DHC PE-WM/CW/1/44
87
ibid
88
ibid
89
DHC PE-WM/GN/2/1/1
51
Chapter 3
the issue described. 90 If this Ann(e) is the Ann christened in Wimborne in 1713, then she is the
daughter of longstanding choir member Roger Willis, who sang from 1690 – 1732, and had 6
descendants in the choir. 91 Certainly George’s wife was called Ann, as seen in entry 62, the record
of her burial on 17th January 1780. If she had accompanied her husband to Bristol it is natural for
her to return to Wimborne where her son was organist after his death, and where she may have
had more extended family.
There are two possible deductions from this, one more secure than the other. One is that George
was the son of a Minster Governor, and part of an established and wealthy local family, possibly
linked by marriage to an important family in the musical life of Wimborne. A certain amount of
conjecture is required to support this, but there is nothing in the facts to negate it. The other,
unavoidable conclusion is that George Combes lived in Wimborne in the years before his
appointment in 1743/4, his two sons being christened there in 1740 and 1743. This is an
important distinction from his predecessors in the role, and further supported by evidence from
the Governors’ Minute Book, to which I will return.
One notable omission is any lack of reference to the Combes family within the choir, prior to
George’s arrival as organist. If, as I would suggest is possible, our organist George is the son of the
Governor William, who in turn is the son of the Governor Richard, then these are people very
much of the town. What education led George into the profession of organist if not a training at
the Minster? If his family were encouraging of his musical talent, what could be more obvious
than availing themselves of the opportunities available at the church with which they were so
closely linked? But there is no mention of George, John, or Thomas in the records as choirboys.
There are certainly a few small gaps in the records, but the period in question is very complete,
and I would suggest that the gaps are not big enough for these boys to fall through. When it
comes to the back row of the choir it is possible to identify the line-up for almost every year from
the restoration onwards, and there was certainly no space for George within it.
There is a possible answer to the question of the absence of the Combes boys from the choir in
the social structure of Wimborne. David Reeve, in his PhD thesis at the University of Exeter,
looked closely at the strata of society in Wimborne town and church in the 17th century. 92 As the
town was so dominated by the Minster, and had no separate corporation of its own, the town’s
90
‘England, Dorset, Parish Registers, 1538-2001’, database with images, FamilySearch
(https://www.familysearch.org/ark:/61903/1:1:QJD4-BK65 : 2 June 2020), George Coomes and Anne Willis,
1739.
91
(https://www.familysearch.org/ark:/61903/1:1:QJDC-HQ6Q : 14 May 2020), Ann Willis, 1713.
92
David Reeve, 'A Study of a Small Town - Wimborne Minster 1620-1690' (PhD, Exeter, 2002).
52
Chapter 3
hierarchy was the Minster’s. He identifies three clear levels – the Governors, the Churchwardens
and the Sidesmen/Overseers of the Poor. We are therefore looking at the family being a part of
the highest level of Wimborne society – perhaps a rung down from the Hanham and Bankes
families, who always have multiple representations on the board of Governors, but nevertheless
in a high position. These are simply not the families who presented their sons to be choristers at
the Minster. The first record of the son of a governor in the choir is Richard, the son of William
Austen, who joined the choir in 1763 for three years. 93 Even in this case, William Austen held the
paid role of Deputy Registrar to the Governors whilst also having his own seat, and was agent to
the Bankes family, so he was perhaps not quite of the first order of rank. As I have shown in the
chapter on the composition of the choir, it was the middling sort, tradesmen and artisans, who
provided the bulk of the choir. It would seem more likely that the sons of the Combes family were
sent away for their education to a public school, where they may have found ample opportunity
for a musical education. However, I have not been able to find George’s name in any records, such
as the Winchester Long Rolls, so far. 94
That George Combes was known at the Minster prior to his appointment is further indicated by
two entries in the Governors’ records. Firstly from the accounts of 1739:
Mr Combes in pl of Musick for the choir 1-1-0 95
No first name, of course, but it indicates musical involvement from the family before they have
any formal appointment in the musical ranks, and it would seem likely that George is the Combes
involved. And from the accounts of 1743, when Fyler was still organist:
Mr Coombes for Musick by order of the Corporation 2-2-0 96
In these cases I think it is reasonable to interpret ‘Musick’ as compositions or copies, rather than
services rendered, which indicates that Combes’ prowess as a composer was already valued by
the church. This is supported by the presence of works by Combes in some of the earliest books in
the collection, P12 and P13, discussed further in the chapter on sources. Whilst exact dating is
impossible, it is a further hint towards Combes’s early involvement with the Minster.
93
DHC PE-WM/GN/2/1/1
94
Clifford Wyndham Holgate, The Winchester Long Rolls, 1653 – 1812, (Winchester, P & G Wells, 1899)
95
DHC PE-WM/GN/2/1/1
96
ibid
53
Chapter 3
This brings us to the point of Combes’s appointment as Organist of Wimborne Minster. At an

extraordinary meeting of the Governors on 8th January 1743 (old style – so 1744 new style) the
single item of business was:
George Combes chosen Organist in Room of John Tyler. £25 pa to commence St Thomas'
Last 97
It is worth noting that this follows very shortly on from William Combes’ first meeting as
Governor.
None of this, of course, proves the direct family connection I have suggested, particularly given
the common nature of the forenames involved. Indeed, another very conceivable option is that
the organist George was a more distant relation of musical note brought in to the role, though
this supposition is undermined by his clear presence in the town before his appointment. Or
equally, a great deal of coincidence may be at work. However, I think the weight of evidence links
our composer to an established and influential family, thoroughly embedded in the soil of
Wimborne. It also raises the possibility that George had an income, and concomitant
responsibilities, separate from his professional work.
This takes further two aspects highlighted in the previous chapter. Firstly, developing the
tendency towards self-sufficiency seen within the choir, where the men received their training as
choristers, and the choristers were, to the extent that was biologically possibly, provided by the
men. The appointment of ‘local talent’ can be seen as continuing that tradition, even if, as I
suggest, Combes may have received his education elsewhere. That chimes in with the second
feature seen with organists over the years, that this was a role of greater significance than
membership of the choir. In previous appointments this has been expressed in the bringing in of
men with cathedral experience. In the case of Combes, it can be read that the role of Organist was
suitable for a member of a more elite family, in a way that joining the choir as a chorister was
not. 98
Further evidence of George Combes’s status within the town is provided by his appointment as a
Churchwarden for the year 1753 – 1754. That this is the same George Combes as the organist is
shown by the signature below, which matches several other examples, discussed in Chapter 5.
97
ibid
98
For more on the social strata of the choir, see Reeve, 'A Study of a Small Town’, and Cornish-Dale,
'Migrations of the Holy', chapter VI .
54
Chapter 3
Figure 6 - George Combes's signature among names signing off the Churchwardens' accounts of
1752 - 1753 99
During Combes time at the Minster, in 1756, he was appointed to Bristol Cathedral, and whilst
there is no record of his absence from the Minster, there is plenty of evidence of his presence in
Bristol. 100 He was not only Organist at the Cathedral from 1756-1759, he was also employed there
for some time as a singing man, and was organist of All Saints, Bristol from 1756 - 1758. He
advertised in 1757 that he could teach ladies on the harpsichord and guitar, and that he would
attend ladies in the countryside. 101 Such plurality of posts was not uncommon. 102 Whilst in Bristol
he published a book of psalm tunes - the copy in the British Library bears the signature of Samuel
Wesley. 103 Combes left Bristol to return to Wimborne in 1759, finally settling back in Bristol in
1765 for the remainder of his life. What led to his return, and what was happening in Wimborne
during his tenure in Bristol? Family may be the answer to these questions.
George’s son Richard was baptised on 22nd May 1740, and admitted as a Minster chorister in
1748. He left the choir in 1755, aged 15. 104 He went to Southampton, to be organist of the Holy
Rood Church in 1759, aged around 19, and subsequently returned to the Minster when his father
left for Bristol a second time, staying until his death. 105 Perhaps from the ages of 16 to 19 he took
on the work of his father in Wimborne whilst his father drew the salary. His move to
99
DHC PE-WM/CW/1/44
100
The lack of evidence for his leaving Wimborne, but not the evidence for his presence in Bristol, is noted
in Matthews, Organs and Organists
101
Jonathan Barry 'Charles Wesley’s Family and the Musical Life of Bristol', in Music and the Wesleys, by
Nicholas Temperley, Stephen Banfield, and Jonathan Barry (Urbana: University of Illinois Press, 2010).
102
Stephen Banfield, Music in the West Country : Social and Cultural History across an English Region
(Woodbridge: The Boydell Press, 2018), Cyril Ehrlich, The Music Profession in Britain since the Eighteenth
Century : A Social History, New ed. (Oxford: Clarendon, 1988).
103
George Coombes, Twenty Psalm Tunes in three Parts, adapted and sung to the new version of the Psalms
at the Cathedral & most other places of public worship in Bristol ... Composed by the late Mr Coombes and
other eminent masters. (Bristol: Longmans, Lukey & Co : London, for T. Naish, 1772).
104
DHC PE-WM/RE/1/3, PE-WM/GN/2/1/1
105
Matthews, Organs and Organists
55
Chapter 3
Southampton may have been prompted by his father’s return, or alternatively may perhaps have
been a factor contributing to George needing to be back in Wimborne in person.
A final family correlation, or perhaps a final coincidence. Our ‘other’ William Combes died around
the time of George’s return from Bristol – we have seen that the Churchwarden’s accounts of
1759-1760 record a grave in the church and a ringing of the great bell for him. 106 If we are dealing
with one large family, might this be the cause of George’s return?
As a postscript to this family history, and to introduce a familiar composer whose influence over
Wimborne we will consider next, an interesting score has come to light, this time in the private
possession of Dr Richard Hall. It is a full score of Handel’s Coronation Anthems, printed by Walsh.
The front of the volume has various inscriptions, including the signature of William Hiscock, the
Minster chorister who went on to be Organist of Christchurch Priory for 63 years (see chapter on
the Minster choir), that of George Ferry, his successor, and our own George Combes. Inside the
front cover is a brief account of Richard Coombes, as follows:
This Book, as many others, were once the property of Mr Richard Coombs Organist of
Wimborne – one of the first organ players in the Kingdom, After the Death of his
Brother John Coombs (who survived him) they came into the possession of Mr Rd
Austen of Wimborne in the manner as follows. Rd/his Brother/ left his Brother John
£400 – He sold this to Rd Austen for an Annuity, after which about 2 years, fearing He
should live to want (as reported) starved himself to death, killed himself with fear and
grief as he knew his remittances was doubtful of their ever being made good to him –
so Austen got all his money & books for a mere trifle, of whom I bought them. 107
A tale of underhand dealing between former choristers, all three of the protagonists having been
in the choir. Two other aspects are significant to this study. Firstly, the bequest of £400. In fact, an
examination of Richard’s will (in appendix B) shows the bequest as £500, a subsidiary legacy to
the main inheritance, which went to his wife. 108 This indicates a family living in reasonable
comfort, despite John’s irrational response to his financial situation, and further supports the
theory that these Combeses are part of the wealthy local family. Second, the existence of a full
orchestral score of Handel’s Coronation Anthems in the possession of George Combes. That this
was a valued item is demonstrated by its careful passing down through successions of organists,
106
DHC PE-WM/CW/1/44
107
The pencilled text has been altered, sometimes making the sense more clear, sometimes less. I have
presented what seems to be a reasonable reading.
108
TNA PROB 11/1368/186
56
Chapter 3
with the brief piece of trading described above. It seems unlikely that it was ornamental, and
therefore implies orchestral performance in Wimborne. This hypothesis is supported by further
evidence of a burgeoning civic musical culture in late 18th century Wimborne, in which George
Combes played a central role, and to which we turn next.
57
Chapter 3
3.2 George Combes and the Annual Meeting of the Friendly Society
The rise of the provincial music festival is a well-attested phenomenon of the 18th century, with
events in cathedral cities and larger towns, often spanning a number of days, serving to unite
polite society from across the region in artistic enjoyment and charitable support. 109 The role of
the music of Handel in this phenomenon is also well known. That a town the size of Wimborne
should undertake a similar event is more surprising, and demonstrates that the musical
establishment of the town, synonymous with the Minster, had aspirations more in keeping with
larger centres. This became particularly pronounced after George Combes’s first period in Bristol,
but the annual occurrence seems to have ceased after his eventual return there. In this section I
will analyse the growth of the event and the forces in play that drove its development and
demise, and at the web of local relationships that made it possible.
The first reference to this event is found in the Salisbury Journal, June 21st, 1756: 110
Figure 7 – from Salisbury Journal, June 21st, 1756
109
See, amongst many others, Pippa Drummond, The Provincial Music Festival in England 1784-1918
(Routledge, 2016), Anthony Boden and Christian Wilson, The Three Choirs : A History of the Festival -
Gloucester, Hereford, Worcester, with Annals of the Three Choirs by Christian Wilson. (Alan Sutton, 1992).
Peter Borsay, ‘The English Urban Renaissance: The Development of Provincial Urban Culture c. 1680-c.
1760’, Social History, 1977. Rachel Cowgill and Peter Holman, Music in the British Provinces, 1690-1914
(Aldershot: Ashgate, 2007). John Brewer, The Pleasures of the Imagination : English Culture in the
Eighteenth Century, (New York: Farrar Straus Giroux, 1997).
110
All newspaper references here can be found at the British Newspaper Archive -
https://www.britishnewspaperarchive.co.uk/
58
Chapter 3
The emphasis placed here on decency, decorum, loyalty and excellence are significant markers of
the social intention of the function. The combination of religion with conviviality and art is seen
across all such festivals, although the singling out of the sermon in this case perhaps shifts the
weight a little more strongly to the ecclesiastical side. There is importance placed on the
choreography of display – the procession laid out in order of rank, the mention of specially
designated spaces and of markers of a wealthy church, the bells and organ – intended to promote
the importance of the organising group. That Wimborne saw itself as a local leader is clear from
the final sentence.
A question that arises from this event is 'what is the Friendly Society of Wimborne Minster'?
Unfortunately, this annual event is nearly all that can be found out about it. The term Friendly
Society is most strongly associated with mutual support organisations for 19th century
workers. 111 The 1793 Friendly Societies Act sought to regularise the early rise of these institutions,
rather later than our period. Also after the time of this study, and after the musical festivities had
ceased, is reference from 1775, part of the annual notice of the meeting: 112
N. B. The Society now being established by its excellent rules on a permanent and lasting
footing, and the stock, which is daily encreasing, properly secured, will be an
inducement to many to become members thereof….
However, this is the first notice of its kind and, by its content, seems to imply a change of
direction and establishment for the society. In the earlier period of its existence, it seems to have
provided an opportunity for the great and the good of the local area to socialise. The term can be
seen again in a related context in the Sherborne Mercury of 29th May 1775, announcing that in
Colyton the ‘Female Friendly Society will process to church, attended by a band of music’.
Likewise in the Salisbury and Winchester Journal, 5th May 1766, the Friendly Society of Wareham
is ‘to proceed with Music and elegant Colours, in a Body to Church, to hear divine Service’. These
references do not give us much information on the nature of these societies, but reflect the
combination of conviviality, religion and public display seen in Wimborne.
The only other surviving newspaper record of the Friendly Society outside of its annual festival is
again in the form of a newspaper advertisement, in the Salisbury Journal of 10th September 1761:
111
Martin Gorsky, ‘Mutual Aid and Civil Society: Friendly Societies in Nineteenth-Century Bristol.’ Urban
History 25, no. 3 (1998): 302–22, Simon Cordery, ‘Friendly Societies and the Discourse of Respectability in
Britain, 1825–1875.’ Journal of British Studies 34, no. 1 (1995): 35–58.
112
Salisbury and Winchester Journal, 29th May 1775, p3
59
Chapter 3
Figure 8 – from Salisbury Journal, 10th September 1761
Another example of conspicuous display for a great occasion, keeping the upper echelons of the
town and area’s society tied together and publicly promoted.
We have one concrete, or rather brick and stone, piece of evidence left to us. If you head into the
Cornmarket to the north of the Minster you will see the offices of a financial planner, in an
elegant building, shown in figure 4. This was originally a market hall, with an open arcade at
ground level, and a hall above. Look up to the curvilinear brick gable, and there is a stone plaque
engraved with
this edifice was erected with the affiliance of the neighbouring gentlemen, by
the Friendly Society of this town, for their life. 1758
Figure 9 - the clubhouse of the Friendly Society
This date of construction means that there must have been an earlier club-room from which the
members walked to the church service in 1756. Peter Borsay points to the emergence of specific
60
Chapter 3
buildings linked to culture and recreation as vital markers of affluence in the urban renaissance of
the 18th century. 113 He links this to the rise of artistic and social events such as the music festival,
and identifies the relationship between charitable giving and these leisure activities. It can be
seen, therefore, that Wimborne fits a broader social trend. Less expected is the presence of these
activities in a town the size of Wimborne, which seemed to take its tone from the grandeur of its
church, rather than the scale or wealth of the town as a whole.
The other building mentioned is The New Inn, just across the road from the Minster, the building
that is now McColls, the Albion and Saville Travel. It was one of the most important inns in the
town, and sometimes the venue chosen by the Governors of the Minster for their meetings.
On the musical side the descriptions for the 1756 event are generally vague, but include a specific
attribution to George Combes. Alongside 'a Grand Charge on the organ' (which may have been
becoming unreliable by this time), and 'an elegant Entertainment' in the evening, a setting of the
112th Psalm by Combes is mentioned. Pleasingly, this anthem can be found in the part books held
in the Chained Library, and is presented as part of this edition – Blessed is the Man. The text of
this anthem, to be found in the Critical Commentary of the edition, could be seen as a manifesto
for the organisation, giving us a flavour of its priorities. Its essence is the value of charitable giving,
and the everlasting remembrance and prosperous inheritance that flows from it. These are very
suitable ideals for an organisation of the local elite to desire to project.
Another Salisbury Journal reference shows how the event had developed over the next few years.
From 25th June 1759: 114
113
Peter Borsay, The English Urban Renaissance : Culture and Society in the Provincial Town, 1660-1770
(Oxford: Clarendon Press, 1989). Peter Borsay, The Eighteenth-Century Town : A Reader in English Urban
History 1688-1820, Readers in Urban History (Harlow : Longman, 1990).
114
The quality of images is dependent on the condition of the microfiche. I include a transcription
of those that are difficult to read: We hear from Winbourn-Minster in Dorsetshire, that on Tuesday
the 12th inst. (Trinity- Tuesday) was held at the New Inn, the annual feast of the friendly society of
that town, they made their procession to the church, half an hour after ten o’clock, where was
performed Mr. Purcel’s grand Te Deum, and an anthem for the occasion set by Mr. Combes; after
which an excellent sermon was preached by the Rev. Mr. John Cox; the performance was in every
respect done with great nicety and exactness, and gave a general satisfaction to an audience of at
least five thousand people, amongst which were a great many persons of distinction, who
honoured the concert and ball in the evening with their company, which was very polite and
brilliant.
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Figure 10 – from Salisbury Journal, 25th June 1759
The five thousand must be either hyperbole or an error, but the persons of distinction, with their
polite and brilliant company give a flavour of the sort of event this was. Purcell's Te Deum is a
hefty work, scored with orchestral accompaniment, though we cannot know what forces were
used in this case. The music appears in the part books, and instrumental cues are mentioned, so
possibly the Minster choir was joined by players. Incidentally, this piece was sung at what is now
known as the Three Choirs Festival from its inception in 1715, annually for almost forty years. 115
The reference to the anthem being ‘for the occasion’ could well imply a direct commission,
demonstrating the organisation’s patronage of the town’s artistic life, and an example of their
shaping the cultural landscape as they had the physical one with the building of their clubroom.
This feature is mentioned again in 1761, clearly an aspect of the Society’s patronage of which they
were proud.
115
Watkins Shaw, The Three Choirs Festival: The Official History of the Meetings of the Three Choirs of
Gloucester, Hereford and Worcester, c.1713-1953, (Baylis, 1954); Boden and Wilson, The Three Choirs : A
History of the Festival - Gloucester, Hereford, Worcester, with Annals of the Three Choirs by Christian Wilson,
(Stroud: Sutton, 1992).
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Figure 11- extract from Purcell Te Deum in D, Wimborne partbook P11
No reference to this ‘annual’ event is found in the Salisbury Journal between these two dates. This
interestingly coincides with the move of George Combes to Bristol, described above. I will return
to the implications of this later. What George Combes did and encountered in Bristol is of
importance to the development of the Friendly Society’s annual event. The city at that time was a
major centre, with an important maritime economy, and had a cultural life to match. This was
enhanced by its proximity to fashionable Bath. The Cathedral and the New Assembly Rooms were
significant concert venues. In the former was held the first performance of Messiah in a sacred
space outside the Foundling Hospital Chapel. In fact, this event represented a tipping point for
music festivals across the country, who had until then followed the pattern of a morning service in
church or cathedral, with an evening concert in a hall. Messiah began to take the place of services,
becoming in itself an act of worship in a way it had not previously been. This performance was in
1758, and one notable attendee was one of the most significant religious figures of the period,
John Wesley. In his journal on 17th August, he wrote: 116
I went to the cathedral to hear Mr Handel’s Messiah. I doubt if that congregation was
ever so serious at a sermon as they were during this performance. In many parts,
especially several of the choruses, it exceeded my expectation.
It would seem likely that the cathedral organist would have had some involvement in such an
event. A year before at the New Assembly Rooms had been a performance of Judas Maccabeus.
Perhaps that is the source of the rather fine manuscript score of the first act of the piece that
resides in the Chained Library.
The eighteenth century was the time of the development of the great choral festival, epitomised
to the modern mind by the Three Choirs Festival, originally called the Music Meeting, which has
116
John Wesley, ed Percy Livingstone Parker, The Journal of John Wesley (Chicago: Moody Press, 1951), p96
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run from 1715 to the present day. At this period however it was not alone, nor even preeminent.
A similar event was held in Salisbury around St Cecilia's tide, and in Bristol the movement was
represented by the Bristol Sons of the Clergy. Like its more famous counterpart at St Paul's in
London, this festival raised money for impoverished widows and children of clerics, and in the
mid-18th century was more successful in its finances than the Three Choirs. It was in part through
these festivals that Handel attained his canonical place in the life of English choirs. It is interesting
to note that during this period, whilst Messiah was becoming a mainstay, the rest of Handel's
oratorio output retained a more significant market share than it does today. 117
Perhaps this exposure to wider culture and a greater range of music making inspired George
Combes to broaden the horizons of Wimborne on his return for the period 1759-1765. Looking at
the Friendly Society event, it retains much of its structure, but in content begins to resemble
those great music festivals of the provincial hubs.
The announcement in the Salisbury Journal for the 1760 festival reads:
Figure 12 - from Salisbury Journal, 14th May 1760
So we have gone from an extended but nevertheless relatively simple verse anthem as the main
event in 1756, to the Dettingen Te Deum, a forty minute work involving a large baroque
117
For raw data on music festival programmes see Douglas J. Reid and Brian Pritchard, 'Some Festival
Programmes of the Eighteenth and Nineteenth Centuries 1. Salisbury and Winchester', Royal Musical
Association Research Chronicle 5, no. 1 (1 January 1965): 51–79, and following articles by the same authors.
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orchestra, soloists and chorus headlining the service, alongside other large pieces. The evening
has progressed from 'an Elegant entertainment' with 'many loyal Healths drunk' to a formal
performance of a substantial oratorio in a newly gentrified space, and a ball. The New Room is
presumably the Friendly Society clubhouse, dated 1758, with its finishing touches apparently
completed in time for these celebrations. The nature of the town at the time is further hinted at
by the presence of a bookseller in the town, a classic marker of the rise of literacy and culture
among the wider population. 118 A further example of prosperity was seen in the Coronation
festivities, with the town’s watchmaker displaying fireworks. Naturally, I cannot pass a name
without a choir link – two members of the Tory family were admitted as choristers, in 1778 and
1780. 119
This is all now going beyond the resources of the Minster itself, with its choir of four boys and six
men. Whilst Zadok the Priest (referred to as ‘the coronation anthem God Save the King’) appears
in the part books, the rest of the music does not. Whilst the Minster singers may have been
involved, considerable outside assistance was clearly needed, as referenced by the mention of
'the best Performers from Sarum, Bath etc'. We have a little more detail on this from the
correspondence of James Harris of Salisbury, MP and keen musician. This is a letter from Thomas
Jeans and William Holloway to Harris, asking for assistance for the festival: 120
24 April 1760. Thomas Jeans sr and William Holloway, Christchurch, to James Harris,
Salisbury [G665/5]
On your farther perusing this epistle, we hope the contents will plead some excuse,
for the liberty we have taken.
Trinity Tuesday being appointed for holding a feast at Wimborne Minster, for a
Society which many of this town belong to—the said society has been greatly
encouraged, and indeed sollicited by the neighbouring gentry, to have a musical
performance in the church, & likewise in the evening; for which we have made
application to the organist, who has given us for answer, that it may be done, could a
boy be procured to perform a principal part; but such boy could not be had any
where, but at Salisbury[.] As there has been some misunderstanding between him
and your organist, he declined making any application.
118
Borsay, The English Urban Renaissance : Culture and Society in the Provincial Town, 1660-1770
(Clarendon Press, 1991). Jonathan Barry, 'Consumers’ Passions: The Middle Class in Eighteenth-Century
England', The Historical Journal, 1991.
119
DHC PE-WM/GN/2/1/1
120
Donald Burrows, Rosemary Dunhill, and James Harris, Music and Theatre in Handel’s World: The Family
Papers of James Harris, 1732-1780 (Oxford University Press, 2002).
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Chapter 3
Sir we will take upon us to assure you, the organist hath nothing to do with it any
farther, than conducting the performance; we shall esteem it as a particular favour, if
you would be so good as to use your interest, to procure a boy; which will not only
enable us, to go through the performance with more reputation, but give a
satisfaction to the gentry who are pleased to encourage the intended performance;
(many of whom you well know;) and such boy shall be duly satisfied for his trouble
herein.
As well as hinting at an interesting bit of friction between local colleagues, with the implication
that the request for a soloist would not be met if it came directly from Combes, this shows the
importance of relationships with the principal provincial centres for music making in rural areas.
As the conception of this scale of event may not have been possible without Combes' exposure to
the festivals of Bristol, so their execution required a network of connections across the area. Acis
and Galatea was performed in Salisbury 9 times between 1740 and 1792, so perhaps the
familiarity of the work to Salisbury performers, and the availability of parts, had an influence over
its choice for Wimborne. 121
Another interesting aspect of this is what it tells us about the support these sorts of activities had.
It would seem that gentry from a wide area were encouraging of these more adventurous
undertakings, perhaps aspiring to bring local culture up to the levels of larger centres. Jeans was
from Christchurch, a town where the musical links with Wimborne were further strengthened in
1788 when a former Wimborne singingman, William Hiscock, was appointed as their first post-
restoration organist. This all demonstrates that Wimborne, whilst peripheral to major centres like
Bath, Bristol and Salisbury, was a significant nexus for the cultural life of Dorset and Hampshire.
The secular elements of the festival also support this interpretation. The ball was seemingly quite
a party, as testified to in the report in the paper on June 23rd:
Nigel Wyatt, 'The Annual Music Festivals of 18th Century Salisbury', The Sarum Chronicle, no. 20 (2020):
121
23–40.
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Figure 13 – from Salisbury Journal, June 23rd 1760
Major eighteenth century buzz words abound here once again - harmony, decorum, rank - and
above all an adjective that defined the overriding principle governing society - polite. Captain
Wyndham might have been Wadham Wyndham, well-known bon vivant from Dinton House to the
west of Salisbury. Perhaps this might be an occasion when a great hobby of the time was indulged
in - the singing of catches. We have one additional work of Combes, not found in the Minster
sources, belonging to this genre. This was published in Warren's A Collection of Vocal Harmony
publication for the London Catch Club. 122 The text relates to three previous organists of the
Minster, now lying near each other in death (we do not now know where). It invites the sexton to
prepare a ‘thund’ring grave’ for Combes, a wish not to be fulfilled, as he died in Bristol.
Figure 14 - a catch by George Combes
It is also worth noting that the religious aspect of the festival is still prominently featured, with
details of the sermon advertised. Less related to religious observance is the partying until 4am.
Thomas Warren, A Collection of Vocal Harmony : Consisting of Catches Canons and Glees Never before
122
Publish’d to Which Are Added Motetts and Madrigals Composed by the Best Masters Selected by Thos.
Warren. (London: Printed by Welcker in Gerrard Street, St. Ann’s Soho, 1775).
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However, the liturgical year inadvertently contributed to the revellers being able to do so safely.
As the date of Easter, and therefore Whitsun and Trinity, is related to phases of the moon, these
events always happened on a Tuesday near to the full moon, as shown in the table below.
Table 9 - Dates of Friendly Society Festivals and their proximity to the full moon
Date Liturgical Date Full Moon
8th June 1756 Whitsun Tuesday 12th June
12th June 1759 Trinity Tuesday 10th June
3rd June 1760 Trinity Tuesday 29th May
12th May 1761 Whitsun Tuesday 18th May
28th May 1765 Whitsun Tuesday 3rd June
In the last two they would have been a couple of days better off by choosing Trinity Tuesday,
rather than Whitsun. Perhaps the authorities felt that 1760 was quite enough, and an early night
was needed. Either way, the presence of a full moon was often quoted in the advertisements of
musical clubs, giving members the best chance of getting home safely. 123
The influence of Salisbury over the event is seen again in 1761, with specific mentions of players
from there as well as Bath. The presence of the ‘celebrated Boy from Salisbury’ singing the
principal solo role suggests that, whatever tensions there were between the organists of Salisbury
and Wimborne the previous year, relations were proving fruitful. The choice of pieces is also
significant, Alexander’s Feast and the Dettingen Te Deum being the most often performed works
of the Salisbury Festival.
The centrality of Handel to the Wimborne celebrations is consistent with national trends, and
with more local tastes. Nigel Wyatt’s analysis of the repertoire of the Salisbury St Cecilia’s Tide
festival finds Handel, unsurprisingly, to be the lead composer. 124 Between 1740 and 1792 there
are 157 named works by him performed, well ahead of the next on the list, the local composer
James Harris with 34, followed by JC Bach with just 7. The combination of Handel and local talent
has an obvious resonance in Wimborne. Of Handel’s works, the most frequent was Alexander’s
123
This feature of the timings of musical events is discussed in Samantha Carrasco, 'The Austen Family
Music Books and Hampshire Music Culture, 1770-1820' (PhD thesis, University of Southampton, 2013), p98-
99.
124
Nigel Wyatt, 'The Annual Music Festivals of 18th Century Salisbury', The Sarum Chronicle, no. 20 (2020):
23–40.
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Feast (12 instances), followed by the Dettingen Te Deum (11). The first of these, of course, is ideal
for a celebration of St Cecilia, and the familiarity of the piece to Salisbury performers would be of
benefit to Wimborne. In total, 9 Handel oratorios received repeated performances, with Messiah
in the middle of the pack in terms of frequency. All of the major works performed at Wimborne
were also heard at Salisbury.
The announcement is found in the Salisbury and Winchester Journal on 20th April 1761 (an early
date as Easter was at its earliest possible date that year) 125
Figure 15 - from Salisbury and Winchester Journal, 20th April 1761
Oakley is a name that frequently appears in the choir records, with several choristers and singing
men from that family over a period of years, another indicator of the central position of the choir
to the town’s cultural life. It is also interesting to see specific mention made of out-members, with
the implication that they will need to take care to time possibly lengthy journeys. This further
reinforces the position of Wimborne, and this event in particular, as a cultural focus for a wider
area.
The organ in the Minster was becoming increasingly unreliable, with the following appearing in
the Salisbury and Winchester Journal on 23rd May 1763: 126
125
A very similar announcement was also made in the Sherborne and Yeovil Mercury in 27th April. The
shortened repetition of the advertisement in the Sherborne And Winchester Journal on 27th April makes
reference to five of Handel’s Coronation Anthems. Tantalising though it is, I think time spent hunting for the
fifth would be wasted.
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Figure 16 - from Salisbury and Winchester Journal, 23rd May 1763
We have to wait until 1765 for said notice, once the organ had been restored and enlarged at a
cost of £140 by the Bristol based builder Brice Seede. 127 It was advertised in the Salisbury Journal
on 20th May 1765 as follows: 128
Figure 17 - from Salisbury and Winchester Journal, 20th May 1765
Is there a certain lack of energy here compared to previous years? An unnamed Te Deum, a
repetition of a previous year’s work. However, ongoing links to other centres are still present, and
126
The annual musical meeting of the Friendly Society of Wimborne, Dorset, will not be held, we hear, at
Whitsuntide, as usual; but at the opening of the new organ, of which timely notice will be given in this
paper.
127
Matthews, Organs and Organists, 10
128
The ANNUAL MUSICAL FESTIVAL Of the Friendly Society of Winbourn Minster, in the county of Dorset,
Will be held on Whitsun Tuesday next, being the 28th of this inst. When the new organ at the Collegiate
Church will be opened. All the Members are desired to attend in the Club-Room by Ten o’clock in the
Morning, in order to attend the Procession to the Church, (preceded by a band of Musick, as usual), where a
Sermon will be preached, an Anthem composed for the Occasion, a grand Te Deum, with many other select
pieces of Church Music, performed: To conclude with Mr Handel’s Coronation Anthem of God Save the King.
In the Evening, at the Great Room, will be performed, The Mask of ACIS AND GALATEA. The principal vocal
parts by Mr Corfe and Miss Hooper; the instrumental by Mr Tewkesbury, and other Hands from Salisbury,
&c, After which a ball for the Ladies. By Order of the Stewards. Mr R Oakley, Clerk. N. B. Tickets to be had of
Mr Coombes, Organist; at Mr Tory’s, Bookseller, and at the New Inn, The Church Doors will be opened at Ten
o’Clock
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it is interesting to note the increase of detail of the performing personnel. John Tewkesbury was a
violinist and dancing master with links to John Marsh and Joseph Harris and the music festivals in
Salisbury. 129 It would seem most likely that Mr Corfe was one of the Salisbury family of musicians,
perhaps the 25-year-old Joseph, a lay vicar at Salisbury who would go on to become cathedral
organist. This is the first mention of a female performer in Wimborne, the only previous reference
to a soloist being the ‘celebrated boy from Salisbury’. It is also interesting to note that it does not
mention performers from the Minster itself. Perhaps they were taken for granted, or not seen as
a selling point. However, we do at least have the clear link with the musical institution in the form
of Mr Combes.
References to music forming part of the Friendly Societies annual meeting stop after 1765. In
1767 the announcement reads: 130
The 1768 meeting followed the same pattern. 131 In 1772 a dinner is mentioned after the church
service, but in 1775 the meeting seems to have become entirely a matter of business, as
discussed above. 132 Even though the church services may have involved music, the lack of specific
mention is a stark contrast to the earlier years, as is the lack of further entertainments.
Perhaps this change is related to George Combes’ departure to Bristol near the end of 1765.
Whilst this event is presented as being under the auspices of the Friendly Society, perhaps
Combes himself really was the driving force behind it. The pattern of recorded events would fit
that, with the gap during his first tenure in Bristol mirroring the apparent cessation of the Festival.
This would place this festival in contrast to those in more major centres. Undoubtedly these
events had particular individuals driving them, and a variety of sources of funding, so changes in
personnel may explain breaks in the continuity of some festivals. 133 Overall, however, towns and
129
Laghi, Simone, 'Italian String Quartets and Late Eighteenth-Century London: Publication and Production.
With a Critical Edition of the Quartets Opp 2 and 7 by Venanzio Rauzzini (1746-1810).' (PhD thesis, Cardiff
Univeristy, 2017), p92 Wyatt, Nigel, ‘The Annual Music Festivals of 18th Century Salisbury’.
130
Salisbury and Winchester Journal, 1st June 1767, p3
131
Ibid, 16th May 1762, p2
132
Ibid, 8th June 1772, p2 and 29th May 1775, p3
133
Wyatt, Nigel, ‘The Annual Music Festivals of 18th Century Salisbury’; Carrasco, Samantha, The Austen
Family Music Books and Hampshire Music Culture, 1770-1820. Shaw, The Three Choirs Festival.
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cities with a larger populace had a wider and more diverse range of people involved in creating
and attending the events than was the case in Wimborne. This may have contributed to the
greater longevity and stability of festivals in larger centres. The Friendly Society itself clearly had a
life beyond its annual celebration, as witnessed by the building of a club house. However, perhaps
it was only through Combes’ energy that its annual celebration became such a significant moment
in the local calendar.
3.3 Conclusion, and thoughts on Combes’s compositional development
From the various sources investigated above, a picture of George Combes has emerged, perhaps
with less focus than could be desired, but giving an idea of how he fitted into his social and artistic
world. He would seem to be from affluent stock, receiving an education away from home, and
coming to a significant appointment at a young age. He certainly had a connection to Wimborne
prior to his appointment. That he was a man of ability is shown by his appointment to Bristol
Cathedral, as well as from his extensive corpus of compositions.
His life differed from that of his predecessors, in that his cathedral experience came in the middle
of his time at Wimborne, rather than before. There could be significance in this when considering
the journey of his compositional style. As will be shown in the edition of his works, Combes
undertook considerable revision and rewriting of his music. Several early versions of pieces are
present in the partbooks, though in some cases they are partially obliterated, and many pieces
show signs of emendation of details in later books. If it is the case that some of George’s
compositions date from a period when his professional experience was limited to the Minster,
then it seems plausible that exposure to musical influences in Bristol may have given him the
opportunity to hone his compositional style.
What is certainly the case is that Combes brought back from Bristol a greater ambition for the
cultural life of the town. He raised the Annual Meeting of the Friendly Society to a level that bore
greater similarity to the larger festivals of Salisbury, Winchester and Bristol than had been the
case in the years before his first period away. His energy and musical ability were clearly
fundamental to the development of that event, as well as having a long-lasting influence over the
Minster’s musical life.
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Chapter 4 The Music Collection at Wimborne
If you head through the choir vestry on the south side of the Minster and ascend the defensive
(left-handed) spiral staircase you will find yourself in the Chained Library, one of the treasures of
Wimborne. Founded in 1686, it contains a wide range of books on theology, as you would expect,
but also on diverse subjects such as gardening, medicine and etiquette, many chained to rods on
the shelves. On the west wall are shelves containing boxes that hold part of an extensive
collection of music manuscripts; the rest can be found piled in a haphazard fashion in a chest on
the opposite wall. The collection encompasses manuscript organ books, partbooks, scores and
chant books in addition to eighteenth and nineteenth century printed editions. Of the manuscript
items, a few are very short, one consisting of a single piece, whilst many are very substantial,
running to over 100 folios. The period of their usage is investigated further below, but broadly
covers a period from the Restoration to the mid nineteenth century. In this chapter I attempt to
give an overview of the holdings, and to bring some order to the unwieldy collection.
4.1 The Catalogue
An essential tool when approaching this large collection is the catalogue, initially compiled in 1988
by John Andrews, a local historian. It was revised in 2007 by Peter Gibson, a member of the
Minster Choir. This comprehensive piece of work aims to list each piece in each of the major
volumes (some books of chant are unindexed), and provides a valuable guide to the books.
Indeed, this study would have been a much more complex undertaking without it. There are two
sections, the first taken by part book, with pieces listed in order of appearance. The second lists
pieces by composer, giving the opportunity to find particular works and see, at a glance, their
distribution. The catalogue does not attempt to note some details such as anomalies of music for
another part appearing in a book, incomplete items, or the presence or absence of solo passages.
Whilst these details would be useful, they would expand the scope of the work enormously.
There are some drawbacks to the catalogue. The first is one of attribution. There are a significant
number of unattributed pieces in the sources, and no attempt has been made in the catalogue to
identify them, even in cases where comparison across the books would resolve the issue. Alison
Boag-Monroe has filled this gap for some of the earlier volumes as part of her Masters thesis, but
it would be extremely valuable to address this across the collection. 134 In researching the work of
134
Alison Boag-Monroe, 'P10-17 An Assessment of a Little Known Provincial Source' (MA, Bangor, 2006).
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George Combes, a number of extra copyings have come to light, and at least one previously
unknown psalm tune. Secondly, there is an issue over keys. Service settings are designated by key,
but often inaccurately, with relative majors given for minor keys, or C major for what is commonly
known as Tallis in the Dorian Mode. Thirdly, in the composer index, pieces with minor variants in
titles are listed as separate items, and, conversely, different setting of the same text by the same
composer are listed as the same piece.
This study raises several details that would be of use in a fresh approach to the catalogue,
although a full revision is beyond its scope. A full overhaul of the catalogue would be very
valuable to those trying to access the manuscripts. This could be considered alongside digitising
the collection to allow broader access, and to address the problematic issue of storage conditions.
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4.2 An assessment of the collection
This table shows the shelfmark and a brief description of the 67 musical items held in the Chained
Library at Wimborne Minster, taken from the 2009 catalogue. The order and grouping does not
necessarily imply kinship between various sources, and I will give them a broad working grouping
later.
Table 10 - The Music Collection in the Chained Library at Wimborne Minster
O1 "Orpheus A" Part-book Printed Treble part
O2 "Orpheus B" Part-book Printed Tenor part
O3 "Orpheus C" Part-book Printed Bass 1 part (Baritone)
O4 "Orpheus D" Part-book Printed Bass 2 part
O5 Music forms for services Printed
O9 Chants Part-book manuscript Tenor
O 10 Chants Part-book manuscript 2nd Counter-Tenor (Alto Can)
O 11 Chants Part-book manuscript 2nd Bass (Cantoris)
O 12 Chants Part-book manuscript Tenor (Decani)
O 13 Organ Book Score manuscript F.S. Blount -1847
O 14 Organ Book 1 Score manuscript
O 15 Services and Anthems Score manuscript
O 16 Service: Ebdon Score manuscript
O 17 Handel, Judas Maccabaeus Act 1 Full Score manuscript
O 18 Chants Part-book manuscript 2nd Tenor (Cantoris)
O 19 Chants Part-book manuscript Counter-Tenor (Decani)
O 20 Psalms & Hymns Part-book manuscript 2nd Counter-Tenor (Cantoris)
O 23 Wimborne Minster Score Printed Anthems
P1 Dr. Boyce’s Essential Cathedral Musick Score Printed Vol. I -1760
P2 Dr. Boyce’s Essential Cathedral Musick Score Printed Vol. II -1768
P3 Dr. Boyce’s Essential Cathedral Musick Score Printed Vol. III -1773
P4 Eight Anthems in Score by Samuel Webbe Score Printed
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P5 Croft's Anthems, Vol 2 Score Printed (later version of P7)
P6 Croft's Anthems, Vol 1 Score Printed 1724
P7 Croft's Anthems, Vol 2 Score Printed 1724
P8 Boyce Service & Anthems Score Printed 1790
P9 James Kent Service & Anthems Score Printed
P 10 Organ Booke, D.S. Score manuscript 1670
P 11 Services and Anthems Part-book manuscript Counter-Tenor
P 12 Services and Anthems Part-book manuscript Counter-Tenor
P 13 Services and Anthems Part-book manuscript Tenor
P 15 Services and Anthems Part-book manuscript Bass
P 18 Services Part-book manuscript Alto
P 19 Services and Anthems Score manuscript
P 20 Anthem Score manuscript
P 23 Services and Anthems Part-book manuscript Contra Tenor (Decani)
P 25 Anthems Part-book manuscript Contra Tenor (Decani)
P26 Services Part-book manuscript Contra Tenor
P 27 Services and Anthems Part-book manuscript 2nd Tenor (Cantoris)
P 28 Services Part-book manuscript Tenor (Decani)
P 29 Anthems Part-book manuscript Tenor
P 30 Anthems Part-book manuscript Bass
P 31 Services and Anthems Part-book manuscript Contra Tenor (Cantoris)
P 32 Anthems Part-book manuscript Contra Tenor
P 33 Anthems Part-book manuscript Tenor (Decani)
P 34 Services and Anthems Part-book manuscript Alto
Q 19 Cathedral Choir Book Part-book Printed Novello Tenor
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Q 20 Cathedral Choir Book Part-book Printed Novello Alto
Q 21 Cathedral Choir Book Part-book Printed Novello Bass
Q 22 Anthems Score manuscript
Q 23 Christmas Carols New and Old Score Printed Novello, Ewer & Co.
Q 24 Cathedral Choir Book. Vol. I Score Printed Novello
Q 25 Cathedral Choir Book. Vol. II Score Printed Novello
Q 26 Services Score Printed Novello
Q 27 Services Score Printed Ewer & Co.
Q 28 Services and Anthems Score Printed J. A. Novello
Q 29 Anthems Score Printed L. Alfred Novello
Q 30 Services and Anthems Score Printed
Q 31 The Wimborne Minster Organ Book Score manuscript
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4.2.1 Printed sources: O 1-5, 23, P 1-9, Q 19-30
These encompass part books and scores, chants and extended choral settings, and cover a date
range from 1724 (Croft's Anthems) to the latter half of the nineteenth century. Their presence in
the collection at Wimborne provides an important complement to the study of the manuscripts in
a number of ways. Firstly, the way in which they relate to the production of the part books in
terms of sources for copying. Secondly, for what they can tell us about the repertoire at the
Minster, especially compared to other institutions. Finally, to examine the way in which printed
music began to supersede manuscript, and the dates around which this shift happened.
O23 and Q26 - Q30 are all bindings of several printings by Novello, either of single pieces or sets
of service music. 135 Q24 and Q25 are volumes 1 and 2 of Novello’s Cathedral Choir Book,
compilations of liturgical music in score; Q19, Q20 and Q21 are their related partbooks, each
containing both volumes of the same. Whilst these represent repertoire from a later date than
this study, I will be returning to the settings of communion music in a discussion of the function of
Sanctus settings.
O1 - O4 are collections of secular glees which were published by Ewer in 25 small volumes of
around six pieces each, and bound together. O5, described as ‘Printed music forms for services’ in
the catalogue, could not be found.
P1 – P3 are the three volumes of ‘Dr Boyce’s Essential Cathedral Musick’. The Minster was a
subscriber to the initial printing, named in the list of subscribers at the front of the volumes, and
acknowledged in the Governors' accounts of 1762:
6.6.0 Mr Combes the Organist, Subscription towards Dr Boyce's Cathedral Service

Books latley (sic) published 136
This places the institution alongside most of the cathedrals, several Oxbridge colleges and the
Chapel Royal. Whilst there are several individual subscribers, some gentry, some not, few
institutions outside these august bodies or London churches are mentioned. Notable exceptions
come from Bath and Bristol, and some more far-flung places such Mr Anthony Gretorix, Organist
at Northwingfield, Derbyshire and Mr Thomas Orpin, Organist of Taunton Deane, Somersetshire.
It is interesting that the Minster Governors are listed as the subscriber, in the way that the
One volume, Q26, is wrongly described in the catalogue as ‘Cathedral Choir Book, Volume III’
135
William Boyce, Cathedral Music : Being a Collection in Score of the Most Valuable and Useful
136
Compositions for That Service (London: Printed for the editor, 3 volumes 1760-1773). p.vi
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Chapter 4
Cathedral chapters are, whereas generally with parish churches it is the organists themselves who
are listed.
P4 – P9 are all single composer sets of anthems or liturgical music. One slightly unusual feature is
P5, a set of anthems by Croft. It has the same contents as P7, but with typography that extends
the volume by around 50 pages. With the frontispiece missing, it has not been possible to trace
the provenance of this book. The purchase of music by Croft is mentioned in a resolution of the
Governors from March 29th, 1739, part of a loose collection of bills and receipts. 137
We whose names are here unto subscribed, Governors of the Possessions Revenues and
Goods of Queen Elizabeth’s free Grammar School in Wimborne Minster: Do hereby
Consent and agree that the Choir men of the aforesaid Minster be paid three pounds &
three shillings for providing and writing into the Church Books several new Te Deums
with the morning and evening services belonging to the same and likewise to purchasDr
Crofts Volumes of Church musick to remain for the use of the choir.
To take the issue of the relationship between printed music and manuscript just a little further at
this stage, we find in the Governors' accounts some seven years later (1769):
13.4.8 Mr Richd Combes's Bill for Church Musick and Singing Books for the Choir 138
This can be taken as relating to the minute from the Governors' meeting on 4th January 1769
Ordered that our sd Organist do buy, for the use of the church a Sett of new Singing
Books and do write {over} the usu.l Church Services therein, at The Rate of Ten pence p
Sheet for the Same- 139
In other words, that Richard Combes was to buy a set of books, most likely printed with music
staves, and to copy into them the usual music for services. Clearly then, at this date it was still
manuscript music being used in practice. With these dates of acquisition known, it may be
possible to link some of the part books to this instruction, and to investigate further the
relationship between the printed source and the manuscript. It may also allow a firmer grouping
of some part books, a difficult issue as described below.
P9 contains music by James Kent (1700-1776), Organist of Winchester Cathedral. It is a binding

together of his two volumes Twelve Anthems (1773) and A Morning and Evening Service with
Eight Anthems (1777). There is a significant quantity of music by Kent in the partbooks, and much
137
Dorset History Centre (DHC), PE-WM/GN/5/6
138
DHC, PE-WM/GN/3/186
139
DHC PE-WM/GN/2/1/1
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Chapter 4
of it is found in these collections. Later I will examine the relationship between these sources, and
the information that gives us about the partbooks.
4.2.2 Chants and other service music: O 9-12, O 18-20
These are not itemised in the catalogue, but form a vital resource in investigating liturgical forms
and practice at the Minster. They point to the position of the Minster as both a choral foundation,
sustaining a cathedral style liturgy, and a parish church. Conclusions may be drawn about
performance practice of these fundamental elements of liturgical music. There are two groups,
O9 – O10, and O11 – O12 with O18 - O20
O9 – O10 contain Anglican chants of the type used in cathedral services to this day, of 7 or 14
bars in length, used to chant the psalms in an approximation of speech rhythm. There is plenty of
evidence in the books to give an idea of the dating of this practice at the Minster. O9 contains a
number of dates written after particular chants – 1836 after chant number 71, 1845 after chant
114, May 4th 1856 after chant 148, and 1857 after chant 156. Many chants in the earlier part of
the book are by Blount, starting with chant 7. This is presumably John Wright Blount, organist
from 1808-1835, as from chant 80 onwards many chants are by F S B, or Frederick Stanley Blount,
his son, organist 1835-1863. Therefore, we are looking firmly to the nineteenth century for this
style of psalm singing to take root in Wimborne. The contents of the two books match, apart from
a few items written at the end of each book.
The five physically similar books O11, O12, O18, O19 and O20 are clearly related. Their contents
closely match, though with some inconsistencies of ordering. They are similar in appearance,
though O11, O18 and O20 have titles above the music, and O12 and O19 have psalm numbers
immediately before the music – see figures below. The musical content is initially metrical psalm
settings, using both of the commonly available psalters, though when Sternhold and Hopkins is
used, ‘Old Version’ is specified. They move more towards hymns later in the books. This includes
a Hymn for the Sacrament (My God and is thy table spread), and, towards the end, familiar hymns
such as Onward Christian Soldiers and Sweet Sacrament Divine. There are a number of
adaptations of music by composers such as Mozart, Haydn and Beethoven, sometimes arranged
by F S Blount – p138 of O11, for example, is marked ‘Mozart Harmonised by F S B 1858’.
Figure 18 - O11, Psalm 15
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Chapter 4
Figure 19 - O12, Psalm 15
There are other incidental details that aid with dating. Above Psalm 41 all the books have the
inscription ‘Sung at the Centenary Festival of the Hampshire County Hospital in Winchester
Cathedral’ – presumably 1836. O11, O12 and O18 have, over Psalm 39, ‘Sung at the funeral of the
late Mr F S Blount (Organist) 1st October 1863.’
The addition of a west-facing case in the organ rebuild of 1764 may suggest a growing interest in
congregational singing. The incidental details in these books could allow for fruitful study of the
development of metrical psalm and singing across the later eighteenth and nineteenth centuries.
Of importance to this study are two psalm tunes by George Combes. Whilst composer names are
largely absent from the earlier parts of the books, some are pencilled in, along with the names of
some tunes. This gives us two items by Combes, one corroborated with an appearance in a
partbook.
4.2.3 Manuscript Scores: O15, O16, P19, P20, Q22
These are an oddity in the collection, with only five examples. Of these, O15 is a fairly extensive
collection of anthems and service music, though nothing like the size of the partbooks. It contains
much music by Kent, linking it with later anthem part books, and is similar to them in appearance.
It has the same landscape layout as the organ books. P19 is largely psalm settings, some metrical,
some of the fuging sort, and some straightforward anthem types. In part it has the appearance of
a composer's workbook, with several incomplete items. The score is written variously with C and
F clefs, and with three G and an F clefs.
The others (O16, P20, Q22) contain one set of service music, one anthem and three anthems
respectively. O16 and Q22 are noticeably similar in appearance and handwriting.
4.2.4 Two oddments: O17, Q31
Two items do not fit with the general profile of the collection. One of these (Q31) has no
relevance to this study - a book of music by 20th Century Minster Organists. The other, however,
81
Chapter 4
is a tantalising glimpse into the wider music making of the Minster. It is a manuscript score of Part
One of Handel's Judas Maccabeus. In the flyleaf is written
Paid Mr. Adam Timberts
This is considered more fully in the section on the activities of the Wimborne Minster Friendly
Society.
4.2.5 Organ Books: O13, O14, O21, O22, P10
These books bring us to the substance of this study. Spanning the full chronological period of the
manuscript collection, they contain a large amount of the music of greatest interest. Importantly,
the organ books are doubly vital to the reconstruction of the unique music in the part books, as
they are almost universally the only source of treble parts.
The books contain almost exclusively accompaniments to choral music and psalms, but there are
a few solo organ pieces, including Verse for ye Double Organ in C by Richard Portman, only found
in this collection (P10). 140
P10 appears to be the earliest book. On the hard cover is stuck a piece of leather, with the date
1670, though Le Huray dates it to ca 1685. 141 According to the catalogue, it is known as John
Silver's Organ Book, though the initials on the cover are D: S:: (See figure 15), and the book
contains no music by Silver. Furthermore, the minutes of the Governor’s meeting of 1713, just
after George Day’s death, state
Ordered that Mrs Day Ex[ecutri]x of her late husband be paid forty 3s for her said husbands
books of the Church service for the Organ they being bought and prickt at his charge &
there being none belonging to the Church before.
This would suggest that the book originated with George Day, and it contains an anthem and a
setting of the evening canticles by him. That leads us to a later date during his period at the
Minster of 1695 – 1713, which is problematised by the earlier date on the cover. Furthermore, a
number of items by Michael Wise in the book name him as ‘Organist of Sarum’, a post he held
1668 – 1687. Christopher Dearnley suggests that the book may have originated with Wise before
finding its way to Wimborne, on the evidence of a couple of chants by Chapel Royal composers.
140
This piece is published in James Dalton, ed Faber Early Organ Series vol 2 – England (Faber Music,
London, 1986)
141
R. T. Daniel and Peter Le Huray, The Sources of English church music 1549-1660 (British Academy/Stainer
& Bell, 1972).
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Chapter 4
Whilst this conclusion may not be particularly well supported, it does contribute to the Salisbury
link established with George Day. 142
Figure 20 - P10, cover
The book can be read from either end; if opened from the embossed front it consists of anthems;
from the reverse, organ pieces and liturgical items.
It is written on 6-line staves. In the left hand the bass clef is placed on the third line down. The
right hand is written in a variety of clefs, usually corresponding to the highest vocal part singing,
which includes bass clef in some verse sections. The right hand in choral pieces varies from just
the top line of the vocal texture, occasionally the top two, to a full four-part texture with some
organ interludes in certain pieces. The first five pages of the anthem section are written in the
older diamond head notation, which also recurs at the back of the book in a piece by Ferrabosco.
The first page is shown below. There are then a variety of hands becoming at times rather florid.
Some figures appear in the bass line, though some intuition is needed to produce fully accurate
harmony. There are very brief text incipits present, often little more than the words included in
the title of the piece.
142
Christopher Dearnley, English Church Music, 1650 – 1750, (Barrie & Jenkins, London, 1970), 287
83
Chapter 4
Figure 21 - P10, first page
The reverse view of the book starts with six organ pieces, four by Frescobaldi, apparently copied
from the published First and Second book of Toccatas. There is then a piece unique to this
manuscript, a 'Verse for ye Double Organ' by Richard Portman, and finally a Verse for ye Single
Organ by Christopher Gibbons. Interpolated between the organ pieces are settings of the
Responses to the Commandments, a liturgical item found early in the Communion Service. This
could lead to the inference that these pieces were intended for use before that service. That this
liturgical function could later have been filled by setting of the Sanctus is discussed in the Critical
Commentary to the edition, and in other organ books the pairing Sanctus – Kyrie (Responses to
the Commandments) is seen. These are the only instances of solo organ music in the books,
though improvisation may well have played a part in services. The rest of the liturgical settings
are for the offices.
Three organ books are of similar appearance, and various clues imply that they may have built up
as a set. O14 (anthems) and O22 (services) are full, whilst O21 (both anthems and services) has
space left in the middle, so it could be speculated that the former two were completed first, and
the last then begun containing both types of music when they were filled. Of the three books,
only O14 has a five-line stave, the other two using six, with the bass clef three lines down. All
books have a variety of right-hand clefs, although only O14 uses the modern treble clef, its use in
other books replaced by a C clef on the bottom line. The opening pieces of each of these books
are shown in figures below.
There appears to be a unity of hands here, and various orthographic details are common, such as
the chorus indication (Cho:)
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Chapter 4
Figure 22 - O14, page 1
Figure 23 - O21, page 4
Figure 24 - O22, p27 (the first in the book)
Generally, text is indicated by starts of lines only, with no attempt at underlay. The only exception
to this is the section of O21 containing liturgical items. This is perhaps surprising as the anthems
85
Chapter 4
in this book, with less routine texts, do not have all the words. As with P10 it is generally the
highest vocal line and bass written out, as well as obbligato organ parts in some places, for
example in Greene's Acquaint thyself with God in O14. The bass is figured, with numbers
generally written above the line, and in a consistent style across the books.
The repertoire contained may give an indication of the relationship between these books.
Naturally, there is no crossover between the anthem book O14 and the services book O22.
However, there are also no shared works between O14 and the composite book O21. On the
other hand, sets of liturgical music by Aldrich (in G), Combes (in E) and Rogers (in D) are found in
both O22 and O21, along with two Sanctus settings by Combes, which are placed to complete the
Aldrich and Rogers set. These are the last in O21 apart from a Eucharist pair by JW Blount,
presumably added in the early nineteenth century. There are only subtle differences in
appearance here, with slightly straighter tails to notes, and figures written, where possible, at the
mid-point between staves. It might therefore be supposed that these shared works were central
to the repertoire, that it was convenient to have them in this book, and that it was in use over an
extended period. They are all written in the 'full' style, amongst the simpler settings, and
therefore may well have been staple fodder.
It is these three books that are vital to the edition of the works of George Combes. A few of his
works (Evening canticles in D, Kyrie and Nicene Creed in G, Sanctus and Kyrie in G minor,
Benedictus in D and the anthem Bow Down Thine Ear) are not found in them, and therefore any
treble part will be a conjectural reconstruction. Nearly all his other works are found in O14 and
O22, with additional copies of Matins canticles in E and Sanctus in G in O21 and Matins canticles
in D in O13. These can be taken to be later copies, especially in O13, and therefore of less
importance than the earlier appearances, though of interest from the point of view of
performance practice. One anthem, Give Sentence, is found only in O21 and vocal partbooks.
The last organ book in the collection is O13. It is dated 1847 and inscribed as belonging to F S
Blount, Organist at the Minster 1835-1863. In appearance it is distinct from the earlier books. The
figure below shows the characteristic ornamented heading of each piece in this book, and also
the typical style of writing. It also shows one orthographical oddity - despite the, now standard,
five line stave, the bass clef is still three lines from the top, meaning that, if read literally, all the
notes are a third out. In an age of more fixed clefs, it is unlikely that this was ever a concern. The
older practice of a variety of right-hand clefs is maintained, however.
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Chapter 4
Figure 25 - O13, first page, showing decorated titles
There is a great deal of empty space in the middle of the book, perhaps reflecting a shift towards
printed music in the mid-nineteenth century.
As with P10, the book is to be used from each end, in this case the front of the books is dedicated
to liturgical music, the back to anthems. There is an extensive quantity of service music,
predominantly for the offices. There are only 5 Eucharistic pairs, one of which also had a setting
of the Nicene Creed. Unlike the earlier books, these are in the order Responses to the
Commandments, Sanctus, perhaps implying that at the date this book was in use, full communion
services were more being sung, with the Sanctus in its place within the Eucharistic Prayer. Its
repertoire appears rather conservative, duplicating much in earlier books, indeed with a copy of
George Day’s (Minster Organist 1695-1713) canticles in F towards the end of the liturgical section,
whilst the brief section of anthems make it as far as Mozart’s Out of the Deep.
4.2.6 Partbooks: P 11-18, P 21-34
These 22 volumes provide a comprehensive insight into the repertoire and performance practice
of the Minster over a likely period of 200 years. They also give tantalising glimpses into the
personnel associated with the choir. There are 9 alto, 8 tenor and 5 bass books. Whilst there is
clear kinship between various books, grouping them into sets is not a simple matter.
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Chapter 4
A variety of aspects still remain to be investigated to ascertain the genesis of the volumes,
particularly scribal hands, binding of volumes and watermarks. Whilst earlier sets often appear to
be later bindings of loose sheets, there are later examples which are lined books that have been
filled in, and these present more opportunities for grouping.
The following analysis is principally based on repertoire groupings, with allowance made for cases
where obvious rebinding has been undertaken, and forms a framework to be further refined by
more probing physical examination. In addition, the more detailed musical analysis of variants in
the edition of Combes' works will highlight further relationships.
It is amongst the later books that clearer groupings emerge, and we therefore begin with them.
4.2.6.1 Late group anthems
P25 - Alto decani
P29 - Tenor
P30 - Bass
P32 - Alto
P33 - Tenor decani
A later, reasonably clearly defined set, is comprised of P25, P29, P30, P32 and P33, books for alto
(Decani), tenor, bass, alto and tenor (Decani) respectively. These are dedicated exclusively to
anthems, with the exception of an Ebdon Eucharist setting at the end of P25 and some liturgical
material at the end of P30. This grouping can be made with confidence on a number of fronts.
Firstly there is similarity of hands, and of the way particular musical symbols are written. Figures 7
-11 show a piece by Combes at or near the start of each of these books, showing the similarities
in appearance.
Figure 26 - P25, page 1
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89
Chapter 4
Table 11 - contents of books P25, P29, P30, P32, P33 and O14
P25 Alto decani P29 Tenor P30 Bass

Combes Behold, I bring you Combes Behold, I bring you Combes Behold, I bring you
Wise Awake up my glory Wise Awake up my glory Wise Awake up my glory
Greene Acquaint thyself Greene Acquaint thyself Greene Acquaint thyself
Combes Blessed is the man Croft I will sing Combes Blessed is the man
Croft I will sing Combes, Blessed is the man Croft I will sing
Combes I will magnify thee Day Haste thee, O God Combes I will magnify thee
Day Haste thee, O God Combes I will magnify thee Day Haste thee, O God
Wise Gloria in Excelsis Wise Gloria in Excelsis Wise Gloria in Excelsis
Howard Blessed is the man Howard Blessed is the man Anon Gloria Patri
Greene O Lord, give ear Greene O Lord, give ear Howard Blessed is the man
Greene Thou, O God Greene Thou, O God Greene Thou, O God
Hawkins Arise, O Lord Hawkins Arise, O Lord Hawkins Arise, O Lord
Croft Blessed is the people Croft Blessed is the people Greene O Lord, give ear
Clarke I will love thee, O Lord Clarke I will love thee, O Lord Croft Blessed is the people
Combes The Lord is King Combes The Lord is King Clarke I will love thee, O Lord
Clarke How long wilt thou Clarke How long wilt thou Combes The Lord is King
Anon The Lord is my light Kent Lord, who shall dwell Clarke How long wilt thou
Kent Lord, who shall dwell Kent My soul truly waiteth Kent Lord, who shall dwell
Kent The Lord is my shepherd Kent Hearken unto this Kent The Lord is my shepherd
Kent My soul truly waiteth Kent Give the Lord Kent My soul waiteth
Kent Give the Lord Kent O Lord our Governor Kent Hearken unto this
Kent O Lord our Governor Kent Sing, O heavens Kent Give the Lord
Kent It is a good thing Kent My song shall be Kent Lord, what love have I
Kent Sing, O heavens Calcott Grant, we beseech thee Kent O Lord our Governor
Kent My song shall be alway Kent The Lord is my Kent It is a good thing
Kent The Lord hath prepared Kent All thy works Kent Sing, O heavens
Anon My song shall be alway Kent Hear my prayer Kent The Lord hath prepared
Kent The Lord hath prepared Kent When the Son of Man Kent Rejoice in the Lord
Anon O praise the Lord Anon Ponder my words Anon All thy works
My song shall be of
Anon Ponder my words Scott Praise the Lord Kent mercy
Calcott Grant, we beseech thee Hayes The Lord descended Kent Hear my prayer
Kent All thy works Kent Lord, what love have I Anon Ponder my words
Kent Hear my prayer Handel When the ear heard him
Handel When the ear heard him Blount Behold, how good
Blount Behold, how good Kent When the Son of Man
Kent Hear my prayer Calcott Grant, we beseech thee
Kent When the Son of Man Scott Praise the Lord
Scott Praise the Lord Hayes The Lord descended
Hayes The Lord descended Stainer Responses and Litany
Handel I know that my Anon Psalm chants in Am
Ebdon Sanctus in C Anon Psalm chants in C
Ebdon Kyrie (BCP) in C Anon Psalm chants in E flat
Ebdon Nicene Creed in C Anon Psalm chants in F
Boyce Te Deum
Mozart Out of the deep
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Chapter 4
P32 Alto P33 Tenor decani O14 Organ

Clarke I will love thee, O Lord Weldon O praise God Wise Awake up my glory
Combes Behold, I bring you Farrant Call to remembrance Day Haste thee, O God
Wise Awake up my glory Farrant Hide not thou thy face Combes Blessed is the man
Greene Acquaint thyself Combes Behold, I bring you Greene Acquaint thyself
Combes Blessed is the man Greene Acquaint thyself Combes I will magnify thee
Croft I will sing Combes Blessed is the man Wise Gloria in Excelsis
Combes I will magnify thee Day Haste thee, O God Croft I will sing
Day Haste thee, O God Croft I will sing Howard Blessed is the man
Wise Gloria in Excelsis Wise Awake up my glory Croft Blessed is the people
Howard Blessed is the man Combes I will magnify thee Combes Behold, I bring you
Greene O Lord, give ear Wise Gloria in Excelsis Greene O Lord, give ear
Hawkins Arise, O Lord Howard Blessed is the man Greene Thou, O God
Greene Thou, O God Anon Gloria Patri Hawkins Arise, O Lord
Croft Blessed is the people Combes The Lord is King Clarke I will love thee, O Lord
Clarke I will love thee, O Lord Greene O Lord, give ear Combes The Lord is King
Combes The Lord is King Hawkins Arise, O Lord Kent Why do the heathen
Clarke How long wilt thou Child Praise the Lord Kent Hear my prayer
Kent The Lord is my Child O Lord, grant the king Clarke How long wilt thou
Kent Hearken unto this Rogers Behold now, praise Aldrich I am well pleased
Kent Lord, what love have I King The Lord is King
Kent Give the Lord Croft O give thanks
Kent My soul truly waiteth Clarke Praise the Lord
Kent Sing, O heavens Combes Give sentence in G
Kent O Lord our Governor Carter Hear my prayer
Kent It is a good thing Kent Lord, how are they
Kent My song Goldwin I have set God
Kent The Lord hath prepared Carter Like as the hart
Kent Hear my prayer King O pray for the peace
Anon Teach me, O Lord Clarke How long wilt thou
Kent O Lord our Governor Purcell Thou knowest, Lord
Scott Praise the Lord Kent Why do the heathen
Hayes The Lord descended Kent Hearken unto this
Blount Behold, how good Kent It is a good thing
Blake I have set God
Nares Blessed is he
Kent It is a good thing
Kent Blessed be thou
Kent My song
Kent The Lord hath prepared
Handel When the ear heard him
Anon My song shall be
Mason Lord of all power
Marcello O Lord our Governor
Blount Behold, how good
Kent The Lord is my
Handel Comfort ye, my people P33 Continued
Reynolds My God, my God Handel I know that my
Kent Blessed be thou Handel Worthy is the Lamb
Blake I have set God Anon Teach me, O Lord
Handel Hallelujah Corfe O God, who hast
Handel Zadok the priest Handel I know that my
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Chapter 4
Secondly, there is a clear equivalence of repertoire, although it is as inexact as is to be expected

with this collection. Thirteen pieces are found in all five volumes, and a further eleven in the first
four, with several other pieces common to some books but missing in one or more others.
Moreover, the books are initially in a broadly similar order. This is shown in the table on the
previous page. There is a block of nine anthems that appear at the start of all the books, apart
from being prefaced by one other in P32 and three others P33, although there are some reversals
of order within the group. This group is shaded in the pink colour. This is followed in P25, P29,
P30 and P32 by another group very largely shared across the four, with just a few items missing in
one or more books. This is shaded in the blue colour for items appearing in all four, and includes
works by Kent, whose copying we will come onto. P33 at that point has a set of anthems
belonging to another group, discussed below. It is clear then that these are broadly compatible
books, though with some works that could not have been performed without additional material
from elsewhere. In part, this is due to the lengths of the books not being uniform, with forty
anthems in P25, thirty-two in P29, forty-five in P30, thirty-three in P32 and fifty-seven in P33.
With this set we can certainly link O14, an organ book, whose contents are almost all found
within this set, covering part of both groups of pieces I have outlined. There is however little
similarity in the ordering, as again shown in the table.
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Chapter 4
4.2.6.2 Group Services
P23 - Alto decani
P26 - Alto
P28 - Tenor
P27 - Tenor cantoris
P26 (alto) and P28 (tenor) are clearly a pair. Whilst the order of items does not map precisely, the
music contained is almost identical. There are only a few items, mostly short Sanctus settings, not
found in both. It is particularly at the back of P28 where the non-shared items are found. Most
significant are some items by FS Blount (Organist 1835-1863) towards the back of P28 that
indicate the ongoing use of this book into that time.
To this set can be added P23 and P27, books of both services and anthems, with anthems being
found at the back of the book, written upside down. The service collections map precisely to the
repertoire found in P26 and P28, though with their own particular orders, and a few additional
items. In P27 this includes a Responses to the Commandments by CV Stanford (1852-1924),
another indication of the longevity of use of these books. The contents of these books are shown
in Table 10. Each group of settings has been given a different colour, so that the irregularity of
ordering can be readily seen, as well as the high degree of concordance of content. Uncoloured
items are either unique to one book, or only partly shared.
The pattern in these books, distinct from earlier examples, is for settings to be grouped in a set
for the whole day. A typical example, at the start of three of the books, is Tallis in the Dorian
Mode (incorrectly identified as in C in the catalogue) - Te Deum, Benedictus, Sanctus, Kyrie,
Nicene Creed, Magnificat, Nunc Dimittis. There are several alternative canticles, and the Nicene
Creed is less often represented. Where a composer, such as Aldrich, has not written a Sanctus,
one is provided by Combes, reflecting the liturgical practice of the Minster as well as his integral
involvement in the repertoire.
These are linked with O22, an organ book of services. Whilst it contains much less repertoire than
the partbooks (for obvious physical reasons), all the music in it is common to the four partbooks.
Some of the remaining repertoire is found in the settings section of another organ book, O21,
alongside considerable repetition. Looking at it the other way, all of the settings in O21 are found
in P23, P26, P27 and P28 apart from an anonymous setting of O Lord Grant the King a Long Life.
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Table 12 – settings from P23, P26, P27, P28, and O22, O21
P23 Alto decani P26 Alto P27 Tenor Cantoris P28 Tenor O22 Organ O21 Organ
Tallis, T. Te Deum, dm Anon I will give thanks Tallis, T. Te Deum, dm Combes, G. Te Deum, E Rogers, B. Te Deum, D Kelway, T. Magnificat
Tallis, T. Benedictus, dm Tallis, T. Te Deum, dm Tallis, T. Benedictus, dm Combes, G. Jubilate Deo, E Rogers, B. Jubilate Deo, D Kelway, T. Nunc Dimittis
Tallis, T. Sanctus, dm Tallis, T. Benedictus, dm Tallis, T. Nicene Creed, dm Combes, G. Sanctus, E Combes, G. Sanctus, D Child, W. Te Deum, F
Tallis, T. Kyrie (BCP), dm Tallis, T. Sanctus, dm Tallis, T. Sanctus, dm Combes, G. Kyrie (BCP), E Rogers, B. Kyrie (BCP), D Child, W. Jubilate Deo, F
Tallis, T. Nicene Creed, dm Tallis, T. Kyrie (BCP), dm Tallis, T. Kyrie (BCP), dm Combes, G. Magnificat, E Rogers, B. Nicene Creed, D Child, W. Cantate, F
Tallis, T. Magnificat, dm Tallis, T. Nicene Creed, dm Tallis, T. Magnificat, dm Combes, G. Nunc Dimittis, E Rogers, B. Magnificat, D Child, W. Deus, F
Tallis, T. Nunc Dimittis, dm Tallis, T. Magnificat, dm Tallis, T. Nunc Dimittis, dm King, W. Te Deum, F Rogers, B. Nunc Dimittis, D Tallis, T. Te Deum dm
Rogers, B. Te Deum, D Tallis, T. Nunc Dimittis, dm Rogers, B. Te Deum, D King, W. Jubilate Deo, F Aldrich, H. Te Deum, G Tallis, T. Benedictus, dm
Rogers, B. Jubilate Deo, D Rogers, B. Te Deum, D Rogers, B. Jubilate Deo, D King, W. Magnificat, F Aldrich, H. Jubilate Deo, G Tallis, T. Sanctus dm
Combes, G. Sanctus, D Rogers, B. Jubilate Deo, D Combes, G. Sanctus, D King, W. Nunc Dimittis, F Combes, G. Sanctus, G Tallis, T. Kyrie (BCP), dm
Rogers, B. Kyrie (BCP), D Combes, G. Kyrie (BCP), D Rogers, B. Kyrie (BCP), D Tallis, T. Te Deum, dm Aldrich, H. Kyrie (BCP), G Tallis, T. Nicene Creed dm
Rogers, B. Nicene Creed, D Rogers, B. Sanctus, D Rogers, B. Nicene Creed, D Tallis, T. Benedictus, dm Aldrich, H. Nicene Creed, G Tallis, T. Magnificat dm
Rogers, B. Magnificat, D Combes, G. Sanctus, D Rogers, B. Magnificat, D Tallis, T. Sanctus, dm Aldrich, H. Magnificat, G Tallis, T. Nunc Dimittis dm
Rogers, B. Nunc Dimittis, D Rogers, B. Nicene Creed, D Rogers, B. Nunc Dimittis, D Tallis, T. Kyrie (BCP), dm Aldrich, H. Nunc Dimittis, G Aldrich, H. Te Deum, G
Combes, G. Te Deum, D Rogers, B. Magnificat, D Aldrich, H. Te Deum, G Tallis, T. Nicene Creed, dm Gibbons, O. Te Deum, F Aldrich, H. Jubilate Deo, G
Combes, G. Jubilate Deo, D Rogers, B. Nunc Dimittis, D Aldrich, H. Jubilate Deo, G Tallis, T. Magnificat, dm Gibbons, O. Benedictus, F Combes, G. Sanctus, G
Combes, G. Kyrie (BCP), D Aldrich, H. Te Deum, G Combes, G. Sanctus, G Tallis, T. Nunc Dimittis, dm Combes, G. Sanctus, F Aldrich, H. Kyrie (BCP), G
Combes, G. Sanctus, D Aldrich, H. Jubilate Deo, G Aldrich, H. Kyrie (BCP), G Gibbons, O. Te Deum, F Gibbons, O. Kyrie (BCP), F Aldrich, H. Nicene Creed, G
Kelway, T. Magnificat, C Aldrich, H. Kyrie (BCP), G Aldrich, H. Nicene Creed, G Gibbons, O. Benedictus, F Gibbons, O. Nicene Creed, F Aldrich, H. Magnificat, G
Kelway, T. Nunc Dimittis, C Aldrich, H. Nicene Creed, G Aldrich, H. Magnificat, G Combes, G. Sanctus, F Gibbons, O. Magnificat, F Aldrich, H. Nunc Dimittis, G
Combes, G. Te Deum, E Combes, G. Sanctus, G Aldrich, H. Nunc Dimittis, G Gibbons, O. Kyrie (BCP), F Gibbons, O. Nunc Dimittis, F Rogers, B. Te Deum, D
Combes, G. Jubilate Deo, E Aldrich, H. Magnificat, G Gibbons, O. Te Deum, F Gibbons, O. Nicene Creed, F Combes, G. Te Deum, D Rogers, B. Jubilate Deo, D
Combes, G. Sanctus, E Aldrich, H. Nunc Dimittis, G Gibbons, O. Benedictus, F Gibbons, O. Magnificat, F Combes, G. Jubilate Deo, D Combes, G. Sanctus, D
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Chapter 4
Combes, G. Kyrie (BCP), E Gibbons, O. Te Deum, F Combes, G. Sanctus, F Gibbons, O. Nunc Dimittis, F Combes, G. Sanctus, D Rogers, B. Kyrie (BCP), D
Combes, G. Magnificat, E Gibbons, O. Benedictus, F Gibbons, O. Kyrie (BCP), F Rogers, B. Te Deum, D Combes, G. Kyrie (BCP), D Rogers, B. Nicene Creed, D
Combes, G. Nunc Dimittis, E Combes, G. Sanctus, F Gibbons, O. Nicene Creed, F Rogers, B. Jubilate Deo, D Combes, G. Te Deum, E Rogers, B. Magnificat, D
Aldrich, H. Te Deum, G Gibbons, O. Kyrie (BCP), F Gibbons, O. Magnificat, F Combes, G. Sanctus, D Combes, G. Jubilate Deo, E Rogers, B. Nunc Dimittis, D
Aldrich, H. Jubilate Deo, G Gibbons, O. Nicene Creed, F Gibbons, O. Nunc Dimittis, F Rogers, B. Kyrie (BCP), D Combes, G. Sanctus, E Combes, G. Te Deum, E
Aldrich, H. Kyrie (BCP), G Gibbons, O. Magnificat, F Combes, G. Te Deum, D Rogers, B. Nicene Creed, D Combes, G. Kyrie (BCP), E Combes, G. Jubilate Deo, E
Combes, G. Sanctus, G Gibbons, O. Nunc Dimittis, F Combes, G. Jubilate Deo, D Rogers, B. Magnificat, D Combes, G. Magnificat, E Blount, J Sanctus, E
Aldrich, H. Nicene Creed, G Combes, G. Te Deum, D Combes, G. Sanctus, D Rogers, B. Nunc Dimittis, D Combes, G. Nunc Dimittis, E Blount, J Kyrie (BCP), E
Aldrich, H. Magnificat, G Combes, G. Jubilate Deo, D Combes, G. Kyrie (BCP), D Aldrich, H. Te Deum, G King, W. Te Deum, F
Aldrich, H. Nunc Dimittis, G Combes, G. Kyrie (BCP), D Combes, G. Te Deum, E Aldrich, H. Jubilate Deo, G King, W. Jubilate Deo, F
Gibbons, O. Te Deum, F Combes, G. Sanctus, D Combes, G. Jubilate Deo, E Combes, G. Sanctus, G King, W. Magnificat, F
Gibbons, O. Benedictus, F Combes, G. Te Deum, E Combes, G. Sanctus, E Aldrich, H. Kyrie (BCP), G King, W. Nunc Dimittis, F
Combes, G. Sanctus, F Combes, G. Jubilate Deo, E Anon Gospel Response Aldrich, H. Nicene Creed, G Richardson Cantate, C
Gibbons, O. Kyrie (BCP), F Combes, G. Sanctus, E Combes, G. Kyrie (BCP), E Aldrich, H. Magnificat, G Richardson Deus, C
Gibbons, O. Nicene Creed, F Combes, G. Kyrie (BCP), E Combes, G. Magnificat, E Aldrich, H. Nunc Dimittis, G Combes, G. Te Deum, A
Gibbons, O. Magnificat, F Combes, G. Magnificat, E Combes, G. Nunc Dimittis, E Combes, G. Te Deum, D Combes, G. Jubilate Deo, A
Gibbons, O. Nunc Dimittis, F Combes, G. Nunc Dimittis, E Kelway, T. Magnificat, C Combes, G. Jubilate Deo, D Combes, G. Kyrie (BCP), A
Combes, G. Te Deum, A Kelway, T. Magnificat, C Kelway, T. Nunc Dimittis, C Combes, G. Sanctus, D Combes, G. Sanctus, A
Combes, G. Jubilate Deo, A Kelway, T. Nunc Dimittis, C Combes, G. Te Deum, A Combes, G. Kyrie (BCP), D Combes, G. Cantate, A
Combes, G. Kyrie (BCP), A Combes, G. Te Deum, A Combes, G. Sanctus, A Kelway, T. Magnificat, C Combes, G. Deus, A
Combes, G. Sanctus, A Combes, G. Jubilate Deo, A Combes, G. Kyrie (BCP), A Kelway, T. Nunc Dimittis, C Kent, J. Te Deum, D
Combes, G. Cantate, A Combes, G. Kyrie (BCP), A Combes, G. Jubilate Deo, A Kent, J. Te Deum, D Kent, J. Jubilate Deo, D
Combes, G. Deus, A Combes, G. Sanctus, A Combes, G. Cantate, A Kent, J. Jubilate Deo, D Kent, J. Magnificat, D
King, W. Te Deum, F Combes, G. Cantate, A Combes, G. Deus, A Kent, J. Magnificat, D Kent, J. Nunc Dimittis, D
King, W. Jubilate Deo, F Combes, G. Deus, A King, W. Te Deum, F Kent, J. Nunc Dimittis, D Anon O Lord, grant
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Chapter 4
King, W. Magnificat, F King, W. Te Deum, F King, W. Jubilate Deo, F Combes, G. Te Deum, A
King, W. Nunc Dimittis, F King, W. Jubilate Deo, F King, W. Magnificat, F Combes, G. Jubilate Deo, A
Richardson Cantate, C King, W. Magnificat, F King, W. Nunc Dimittis, F Combes, G. Sanctus, A
Richardson Deus, C King, W. Nunc Dimittis, F Richardson Cantate, C Combes, G. Kyrie (BCP), A
Kelway, T. Magnificat, C Richardson Cantate, C Richardson Deus, C Combes, G. Cantate, A
Kelway, T. Nunc Dimittis, C Richardson Deus, C Kent, J. Te Deum, D Combes, G. Deus, A
Kent, J. Te Deum, D Kent, J. Te Deum, D Kent, J. Jubilate Deo, D Child, W. Te Deum, F
Kent, J. Jubilate Deo, D Kent, J. Jubilate Deo, D Kent, J. Magnificat, D Child, W. Jubilate Deo, F
Kent, J. Magnificat, D Kent, J. Magnificat, D Kent, J. Nunc Dimittis, D Child, W. Cantate, F
Kent, J. Nunc Dimittis, D Kent, J. Nunc Dimittis, D Child, W. Te Deum, F Child, W. Deus, F
Child, W. Te Deum, F Child, W. Te Deum, F Child, W. Jubilate Deo, F Richardson Cantate, C
Child, W. Jubilate Deo, F Child, W. Jubilate Deo, F Child, W. Cantate, F Richardson Deus, C
Child, W. Cantate, F Child, W. Cantate, F Child, W. Deus,, F Kent, J. Te Deum, C
Child, W. Deus, F Child, W. Deus, F Kent, J. Te Deum, C Blount, J Sanctus, E flat
Kent, J. Te Deum, C Kent, J. Te Deum, C Blount, J Sanctus, E flat Blount, J Kyrie (BCP), E flat
Ebdon, T. Magnificat, C Ebdon, T. Magnificat, C Blount, J Kyrie (BCP), E flat Ebdon, T. Magnificat, C
Ebdon, T. Nunc Dimittis, C Ebdon, T. Nunc Dimittis, C Blount, J Sanctus, C Blount, J Sanctus, C
Blount, J Sanctus, C Marsh, J. Sanctus, D Blount, J Kyrie (BCP), C Blount, J Kyrie (BCP), C
Blount, J Kyrie (BCP), C Marsh, J. Kyrie (BCP), D Ebdon, T. Magnificat, C Rogers, B. Sanctus, A
Blount, J Sanctus, Eb Rogers, B. Sanctus, A Ebdon, T. Nunc Dimittis, C Rogers, B. Kyrie (BCP), A
Blount, J Kyrie (BCP), Eb Rogers, B. Kyrie (BCP), A Marsh, J. Sanctus, D Marsh, J. Kyrie (BCP), D
Marsh, J. Sanctus, D Kempton Te Deum, B flat Marsh, J. Kyrie (BCP), D Marsh, J. Sanctus, D
Marsh, J. Kyrie (BCP), D Kempton Jubilate Deo, Bb Rogers, B. Sanctus, A Kempton Te Deum, B flat
Rogers, B. Sanctus, A Blount, J Sanctus, A Rogers, B. Kyrie (BCP), A Kempton Jubilate Deo, Bb
Rogers, B. Kyrie (BCP), A Blount, J Kyrie (BCP), A Kempton Te Deum, B flat Kempton Magnificat, B flat
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Chapter 4
Kempton Te Deum, Bb Kempton Magnificat, B flat Kempton Jubilate Deo, Bb Kempton Nunc Dimittis, Bb
Kempton Jubilate Deo, Bb Kempton Nunc Dimittis, Bb Blount, J Sanctus, A Blount, J Sanctus, A
Kempton Magnificat, Bb Blount, J Te Deum, E flat Blount, J Kyrie (BCP), A Blount, J Kyrie (BCP), A
Kempton Nunc Dimittis, Bb Anon Sanctus, D Kempton Magnificat, Bb Blount, J Te Deum, E flat
Blount, J Sanctus, A Anon Kyrie (BCP), E Kempton Nunc Dimittis, Bb Blount, J Sanctus, G
Blount, J Kyrie (BCP), A Novello, V. Sanctus, G Blount, J Te Deum, E flat Blount, J Kyrie (BCP), G
Blount, J Te Deum, Eb Rogers, B. Sanctus, A Stanford Kyrie (BCP), E flat Arnold, S. Sanctus, C
Blount, J Sanctus, G Anon Sanctus, G Anon Kyrie (BCP), D Arnold, S. Kyrie (BCP), C
Blount, J Kyrie (BCP), G Blount, J Kyrie (BCP), G Anon Sanctus, G Blount, J Sanctus, D
Arnold, S. Sanctus, C Arnold, S. Sanctus, C Blount, J Kyrie (BCP), G Blount, J Kyrie (BCP), D
Arnold, S. Kyrie (BCP), C Anon Kyrie (BCP), C Arnold, S. Sanctus, C Jommelli Sanctus, E
Blount, J Sanctus, D Blount, J Sanctus, E flat Anon Kyrie (BCP), C Jommelli Kyrie (BCP), E
Blount, J Kyrie (BCP) , D Anon Kyrie (BCP), E flat Blount, J Sanctus, E flat Gibbons, O. Sanctus, F
Torrelli, G. Sanctus, E Blount, J Sanctus, C Anon Kyrie (BCP), E flat Anon Kyrie (BCP)
Torrelli, G. Kyrie (BCP), E Blount, J Kyrie (BCP), C Blount, J Sanctus, D Anon Kyrie (BCP), F
Blount, F. S. Sanctus, G Anon Sanctus, E Blount, J Kyrie (BCP), D Anon Sanctus, D
Blount, F. S. Kyrie (BCP), G Jommelli Kyrie (BCP), E Anon Sanctus, E Neukomm Sanctus, G
Anon Sanctus, D Blount, J Sanctus, D Tamelli Kyrie (BCP), E Anon Kyrie (BCP), E
Gibbons, O. Sanctus, F Blount, J Kyrie (BCP), D Anon Sanctus, D Novello, V. Sanctus, G
Gibbons, O. Kyrie (BCP), F Anon Kyrie (BCP), C Anon Kyrie (BCP) Blount, F. S. Kyrie (BCP), F
Novello, N. Sanctus, G Gibbons, O. Sanctus, F Blount, F. S. Kyrie (BCP), A
Novello, N. Kyrie (BCP), E Anon Kyrie (BCP), E Anon Kyrie (BCP), F
Anon Kyrie (BCP), F Novello, V. Sanctus, G Spencer Kyrie (BCP), B flat
Blount, F. S. Kyrie (BCP), F Blount, F. S. Kyrie (BCP), F Anon Kyrie (BCP), C
Blount, F. S. Kyrie (BCP), A Blount, F. S. Kyrie (BCP), A Blount, F. S. Sanctus, G
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Chapter 4
Spencer Kyrie (BCP), Bb Spencer Kyrie (BCP), B flat Blount, F. S. Kyrie (BCP), G
Anon Kyrie (BCP), C Anon Kyrie (BCP), C Kent, J. Te Deum, C
Neukomm, Sanctus, G Blount, F. S. Kyrie (BCP), G Ebdon, T. Sanctus, C
Blount, F. S. Sanctus, G Ebdon, T. Kyrie (BCP), C
Ebdon, T. Sanctus, C Ebdon, T. Nicene Creed, C
Ebdon, T. Kyrie (BCP), C
Ebdon, T. Nicene Creed, C
Anon Kyrie (BCP), F
98
Chapter 4
Furthermore, there must be added to this group the opening part of P31. This is a fascinating
book, and extremely useful for the edition of music by Combes. Although marked as an alto part
book, it contains a total of 20 sheets of treble music at the start, the only source we have for this
part. The table below gives the order and pagination of the treble section. The sheets have page
numbers in ink, as do the other later sources; folio numbers have been added later in pencil, after
the binding together of sheets. The inked page numbers demonstrate several missing sheets –
discontinuities are shown in this table by blank lines.
Table 13 - contents of treble section of P31
Folio Page Composer Work Notes

1r 1 Tallis Te Deum, Dorian
1v 2
2r 3
2v 4
3r 5 Tallis Benedictus, Dorian
3v 6
4r 7
4v 8
5r 9 Tallis Kyrie & Sanctus, Dorian
5v 10 Tallis Magnificat, Dorian
6r 11
6v 12 Tallis Nunc Dimittis, Dorian
7r 13
7v 14 Tallis Nicene Creed, Dorian Start only
8r 17 Rogers Te Deum in D
8v 18
9r 19
9v 20
10r 21 Rogers Jubilate Deo in D
10v 22
11r 23 Combes Sanctus in D
Rogers Kyrie in D
11v 24 Rogers Nicene Creed in D
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Chapter 4
Folio Page Composer Work Notes

12r 25
12v 26
13r 27 Rogers Magnificat in D
13v 28
14r 29
14v 30 Rogers Nunc Dimittis in D Start only
15r 37 Anon End of doxology in D

15v 38 Aldrich Te Deum in G Start only
16r 67 Combes Te Deum in D, Jubilate in D End of Te Deum only

16v 68
17r Combes Jubilate in D Overlaps with above 143
17v Combes Sanctus & Kyrie in D
18r 71 Combes Te Deum in E 4 folios, not complete

18v 72
19r 73
19v 74
20r 77 Combes Jubilate, Sanctus & Kyrie in E Final line of Jubilate only
20v 78 Combes Magnificat in E Start only
The style of handwriting is clearly similar to that in the other later books of services, and the
content and ordering is telling. We see the same opening sequence, with a little internal
reordering, as P23, P26 and P27, and all the repertoire contained in this section is also found in
the Late Services Group.
143
This sheet has top right hand corner missing, so the page number is lost. Musical overlap in the Jubilate
implies that it may not be part of the same sequence, though the numbering continues logically.
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Chapter 4
After the Magnificat in E breaks off in the middle, the book returns to alto music, and we soon
have pieces by F. S. Blount (Organist 1835-1863), giving an idea of when these pages must have
been grouped. Like several other books it has anthems at the back, upside down, all in alto clef.
4.2.6.3 More Anthems
P23 and P27 also provide a crossover to the late anthems set. The anthems portions at the back
of these books contain almost all of the music found in P33, but not in the rest of the set.
Moreover, the anthems section of the organ book O21 contains striking concordances with P23,
P27 and P33, with groups of anthems with very similar ordering featuring in all four, but not in
the other books in the set. In Table 4 we can see the anthems shared between the three books
and O21, appearing at the start of P23 and P27, and here given the lighter shading. The gap in
concordance with P33 leads back to the other anthem set - all of the unshaded items in this block
belong there. Anthems shared between the part books, but not the organ book are in the darker
shading. One of these, Kent's Why do the heathen, is found in the organ book O14.
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Chapter 4
Table 14 - anthem contents of P23, P27, P33 and O21
P23 Alto decani P27 Tenor cantoris P33 Tenor O21 Organ
… but according to thy …
Child O Lord, grant the king Weldon O praise God in his holiness Weldon O praise God in his holiness Anon for thy goodness
Weldon O praise God in his holiness Farrant Call to remembrance Farrant Call to remembrance Farrant Hide not thou thy face
King The Lord is King Farrant Hide not thou thy face Farrant Hide not thou thy face Child Praise the Lord, O my soul
Kent Lord, how are they increased Child Praise the Lord, O my soul Combes Behold, I bring you Child O Lord, grant the king
Child Praise the Lord, O my soul Child O Lord, grant the king Greene Acquaint thyself with God Rogers Behold now, praise the Lord
Farrant Call to remembrance Rogers Behold now, praise the Lord Combes Blessed is the man Weldon O praise God in his holiness
Farrant Hide not thou thy face King The Lord is King Day Haste thee, O God Clarke Praise the Lord, O Jerusalem
Croft O give thanks Croft O give thanks Croft I will sing King The Lord is King
Clarke Praise the Lord, O Jerusalem Clarke Praise the Lord, O Jerusalem Wise Awake up my glory Carter Hear my prayer
Rogers Behold now, praise the Lord Combes Give sentence in G Combes I will magnify thee Aldrich Out of the deep
Goldwin I have set God Carter Hear my prayer Wise Gloria in Excelsis Combes Give sentence in G
Aldrich Out of the deep Aldrich Out of the deep Howard Blessed is the man Croft O give thanks
Carter Hear my prayer Kent Lord, how are they increased Anon Gloria Patri Kent Lord, how are they increased
Combes Give sentence in G Goldwin I have set God Combes The Lord is King Goldwin I have set God
Carter Like as the hart Carter Like as the hart Greene O Lord, give ear Carter Like as the hart
King O pray for the peace King O pray for the peace Hawkins Arise, O Lord King O pray for the peace
Purcell Thou knowest, Lord Purcell Thou knowest, Lord Child Praise the Lord, O my soul Aldrich We have heard with our ears
Kent Why do the heathen Kent Why do the heathen Child O Lord, grant the king Purcell Thou knowest, Lord
Nares Blessed is he Anon Lord, who shall dwell Rogers Behold now, praise the Lord Anon O Lord, grant the king
Blake I have set God Kent When the Son of Man King The Lord is King Anon Hallelujah
Kent Blessed be thou, Lord God Anon O give the Lord Croft O give thanks
Carter Hear my prayer Kent Lord our Governor Clarke Praise the Lord, O Jerusalem
Kent It is a good thing Nares Blessed is he Combes Give sentence in G
Marcello O Lord our Governor Kent It is a good thing Carter Hear my prayer
Mason Lord of all power and might Kent Blessed be thou, Lord God Kent Lord, how are they increased
Kent The Lord is my shepherd Anon Ponder my words, O Lord Goldwin I have set God
Kent My song shall be of mercy Blake I have set God Carter Like as the hart
Anon Ponder my words, O Lord Kent Sing, O heavens King O pray for the peace
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Chapter 4
P23 Alto decani P27 Tenor cantoris P33 Tenor O21 Organ
Calcott Grant, we beseech thee Anon The Lord hath prepared Clarke How long wilt thou forget
Reynolds My God, my God Calcott Grant, we beseech thee Purcell Thou knowest, Lord
Handel Hallelujah Kent All thy works praise thee Kent Why do the heathen
Handel Zadok the priest Kent Hear my prayer Kent Hearken unto this, O man
Handel I know that my Redeemer Kent It is a good thing Kent It is a good thing
Anon Teach me, O Lord Marcello O Lord our Governor Blake I have set God
Corfe O God, who hast prepared Blount Behold, how good Nares Blessed is he
Anon Lord of all power and might Kent It is a good thing
Kent The Lord is my shepherd Kent Blessed be thou, Lord God
Anon My song shall be of mercy Kent My song
Reynolds My God, my God Kent The Lord hath prepared
Handel Hallelujah Handel When the ear heard him
Handel Zadok the priest Anon My song shall be of mercy
Handel I know that my Redeemer Mason Lord of all power and might
Anon Teach me, O Lord Marcello O Lord our Governor
Corfe O God, who hast prepared Blount Behold, how good
Anon O praise the Lord Kent The Lord is my shepherd
Scott Praise the Lord, O Jerusalem Handel Comfort ye, my people
Hayes The Lord descended Reynolds My God, my God
Kent, Blessed be thou, Lord God
Blake I have set God
Handel Hallelujah
Handel Zadok the priest
Handel I know that my Redeemer
Handel Worthy is the Lamb
Anon Teach me, O Lord
Corfe O God, who hast prepared
Handel I know that my Redeemer
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Are these, or some of these, the sets for which Richard Combes was paid thirteen pounds, four
shillings and eightpence in 1769? Certainly the music in the earlier parts of the books would allow
for that date, reflecting a somewhat conservative repertoire. Anthems and settings by later
composers such as Callcott (presumably John Wall Callcott, 1766 - 1821) and J W Blount (Minster
Organist, 1808 - 1835) appear later in the books, and likely reflect the ongoing accretion of music.
In the middle of the anthem books is a section of music by James Kent (1700 - 1776). All of this
music is contained in the publications described above under P9. These appear more or less as a
block in P25, 29, 30 and 32, with a less clear pattern in P33. Whilst they are not always in the
same order, there is a clear progression from Volume 1 to Volume 2 of the printed material. This
is shown in the table below. The extract is the order of pieces from the first to last instance of
Kent, with volume 1 works in red, volume 2 in blue. Titles have been left as in the catalogue, but
attributions to Kent given where appropriate. This gives a clear indication that this portion of the
book can be dated after the publication of the volumes in P9, with a hint that the two portions
were acquired separately and bound together later. Therefore, even if the collection was started
earlier, possibly in 1769, these additions began not earlier than 1773, with second volume items
not before 1777.
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Table 15 - compositions by Kent in P23, P29, P30, P32
P23 Alto Decani P29 Tenor P30 Bass P32 Alto

Kent, J. Lord, who shall dwell Kent, J. Lord, who shall dwell Kent, J. Lord, who shall dwell Kent, J. The Lord is my shepherd
Kent, J. The Lord is my shepherd Kent, J. My soul truly waiteth Kent, J. The Lord is my shepherd Kent, J. Hearken unto this, O man
Kent, J. My soul truly waiteth Kent, J. Hearken unto this, O man Kent, J. My soul waiteth Kent, J. Lord, what love have I
Kent, J. Give the Lord Kent, J. Give the Lord Kent, J. Hearken unto this, O man Kent, J. Give the Lord
Kent, J. O Lord our Governor Kent, J. O Lord our Governor Kent, J. Give the Lord Kent, J. My soul truly waiteth
Kent, J. It is a good thing Kent, J. Sing, O heavens Kent, J. Lord, what love have I Kent, J. Sing, O heavens
Kent, J. Sing, O heavens Kent, J. My song shall be of mercy Kent, J. O Lord our Governor Kent, J. O Lord our Governor
Kent, J. My song shall be alway Calcott Grant, we beseech thee Kent, J. It is a good thing Kent, J. It is a good thing
Kent, J. The Lord hath prepared Kent, J. The Lord is my shepherd Kent, J. Sing, O heavens Kent, J. My song
Kent, J. My song shall be alway Kent, J. All thy works praise thee Kent, J. The Lord hath prepared Kent, J. The Lord hath prepared
Kent, J. The Lord hath prepared Kent, J. Hear my prayer Kent, J. Rejoice in the Lord Kent, J. Hear my prayer
Anon O praise the Lord Kent, J. When the Son of Man Kent, J. All thy works praise thee Anon Teach me, O Lord
Anon Ponder my words, O Lord Anon Ponder my words, O Lord Kent, J. My song shall be of mercy Kent, J. O Lord our Governor
Calcott Grant, we beseech thee Scott, J. Praise the Lord Kent, J. Hear my prayer
Kent, J. All thy works praise thee Hayes The Lord descended Anon Ponder my words, O Lord
Kent, J. Hear my prayer Kent, J. Lord, what love have I Handel When the ear heard him
Handel When the ear heard him Blount Behold, how good
Blount Behold, how good Kent, J. When the Son of Man
Kent, J. Hear my prayer
Kent, J. When the Son of Man
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Whilst the copying from a printed source here is clear, it is interesting to note that the repertoire
preceding the Kent items does not have such a unified source. Whilst the Minster had acquired
Boyce's Cathedral Music, recently if the proposed dating is to be believed, only three items, one by
Wise and two by Clarke, are copied here. Part of the rest of the music is from the Minster's home-
grown repertoire, the rest culled from other sources.
Presumably the £13.4s.8d included the purchase of the lined books. Even if not, at a rate of 10d per
sheet the amount represents the copying of 317.6 sheets of music. That would be more than used
up before the Kent items that must have been copied at a slightly later date, but when these books
would undoubtedly have still been in use.
The dating of this set is important for the editing of the works of George Combes. If they were
started in 1769, the year George Combes died, then all appearances of music by him in them are
later copies. If the books date from earlier, then he may have been involved with the production of
them. Examples in earlier books are more likely to have been in his own hand, or at least overseen
by him. Furthermore, there are a number of alterations in these later books, often at moments
where the original composition has presented technical errors or challenges in the harmony. This
raises the question of whether they are 'improvements' by the composer, or the son correcting his
father's work. They often leave scope for an editor to decide if they are indeed improvements or
not. These questions, and the overall issue of authenticity, are discussed in the critical commentary
of the edition.
It is hard to gain a full understanding of how these books evolved, and to imagine how they
functioned as a set. However, there is enough to show that these books could, in various
combinations, be used for performance together. It is also clear that there must be material that we
no longer have, most particularly in the bass section.
4.2.6.4 Other Books
Outside these groups we are left with P11-18, 21, 22, 24, 31 and 34. Overall it is less easy to see
patterns amongst these books, a situation further complicated by clear evidence of rebinding. It is
therefore only possible to make general comments about these volumes, identify some trends, and
highlight a few particular cases.
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The books P11, P12, P13, P14, P15, P16, P17, along with the organ book P10, are listed in Daniel and
Le Huray's The Sources of English Church Music 1546-1660. 144 There they are given dates of 1670
(P11, P14, P15, P16, P17) and 1685 (P10, P12, P13). Given the presence in P12 and P13 of music by
Combes, these dates can only be seen as an indication of the starting of each volume, and do not
take us further in dealing with later additions and rebinding. Indeed, it is beyond the scope of that
work to give full evidence for those dates, so they are only of limited value.
One effect of this dating, however, was that those volumes were preserved in microfilm, leading to
further research by Alison Boag-Monroe, particularly focussing on the works contained in them by
Weelkes. 145 This is very useful research, particularly in dealing with some cataloguing issues, though
this work has yet to be incorporated into the main catalogue. It also provides valuable insights into
the relationships between Wimborne and other centres, particularly Chichester.
The problem with selecting this group is that it artificially extracts it from the collection as a whole,
and raises a barrier to the understanding of the relationships between the books. Whilst a great deal
more detail could be found, I will present a few aspects that highlight kinships and differences
between these books and others in the collection.
4.2.7 Aspects of the early partbooks
4.2.7.1 Combes
It could be viewed as arbitrary to look for the music of Combes rather than any other composer to
gain an understanding of these books, and of course a similar exercise could be carried out with any
of those present. However, for the purposes of this study, it makes sense to look at 'our' composer,
especially as he is so well represented in much of the collection. P11, P14, P15, P16 and P17 contain
no music by Combes, which certainly chimes in with the earlier suggested date for them. They do,
on the other hand, contain music by earlier Minster organists Silver (Organist 1664 - 1695) and Day
(1695 - 1713). As a piece by Day begins P14 (dated 1670 by Daniel and Le Huray), it demonstrates
the difficulty of putting precise dates on these volumes. 146
The other volumes under consideration all contain some music by Combes, ranging from just a Te
Deum, Kyrie and Creed in P12 to over half the contents of P34. The precise distribution is shown in
144
Daniel and Le Huray, Sources , 6
145
Boag-Monroe, 'P10-17 An Assessment of a Little Known Provincial Source'
146
Daniel and Le Huray, Sources , 6
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Chapter 4
the table of sources in the edition part of this thesis. This would indicate a closer relationship
between P12 and P13 and the rest of the collection than the date of 1685 implies.
Two volumes that bear a moment's individual scrutiny are P18 and P34
P18 (alto) is slim volume, of only 22 folios, It is exclusively music for the morning services, with half
of the pieces by Combes. The pages are fragile and the whole appears to be a rebinding. Many
musical hands are present
P34 (alto) has almost all of Combes' music present - Full services in A, D and E, though the ordering
is unusual, and all of the anthems. Together, his music accounts for over half the volume. It shows
signs of rebinding, with several anomalies in the numbering of pages, and discrepancies with the
index. It is an important source for the Combes anthems particularly, and may have been used by a
principal alto soloist (see Critical Commentary).
More detailed evidence of the relationships between books can be found in the minutiae of musical
variants in the music of Combes. This is discussed in depth in the Critical Edition of his music.
4.2.7.2 Psalms
All of the books P11-17 contain psalm settings, as do P21, P22 and P24. These are predominantly
metrical, though with some examples of Anglican chant. A couple, in a style recognisable to the
modern eye, appear in P13, P15 and P24. Some of less familiar appearance emerge in P14 and P15,
where repeated notes are written out for the recitation, to the rhythm of the Venite, the first
portion of psalm to be sung in a day. This is shown in the figure below. This same style was identified
as an early form of chant in the organ book P10 by Dearnley, in his English Church Music 1650-
1750. 147 Settings of this type are absent from other books, indicating either a move away from their
usage, or, more likely, the creation of separate books for these fundamental liturgical items. We do
indeed have such books, O18-20 for example, though these appear to be nineteenth century in
origin.
147
Dearnley, English Church Music, 287
108
Chapter 4
Figure 31 - Psalm chants, P14 f117v
4.2.7.3 Order
As we have seen, the later sets contain service music arranged in settings by a single composer for
the whole day, with anthems either written at the other end of the book, turned upside down (P23,
P27), or in separate volumes (P25, P29, P30, P32, P33). In these books the pattern is different. The
basic layout for these volumes is
Morning services (Matins and Eucharist)
Evening services
Anthems
Psalms
The pattern is not always tidy, with stray items appearing in several places. Not conforming to this
are P18, containing only morning music, P31, which is a striking anomaly to be discussed later, and
P12, which has psalms upside down at the back. It may well be that sheets were collected and
bound in that order, rather than being written in to a pre-existing book like that, but it indicates that
these books belong to a separate way of thinking about organising material to that seen in the later
sets.
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Chapter 4
4.2.7.4 Shared Verses
To take just one example which shows the interrelatedness of these books, in a way that further
disrupts previous attempts at grouping, we can look at the Purcell Te Deum and Jubilate in D. This
piece was written in 1694; a performance in Wimborne in 1759 is discussed in the context of the
Friendly Society. It appears in five volumes - P11, P12, P16, P22, and P24. The various bass verses are
divided between the books P22 and P24, with P22 having The noble company, and We believe, and
P24 taking the lion's share with the opening of the Te Deum, To Thee all angels, When Thou didst
overcome, O Lord in the Thee and For the Lord is gracious in the Jubilate. This clearly indicates that
the books were intended to be used together. In P11 and P12, two alto part books, again, the verses
are divided between the books, with P11 taking the first part in the alto duets, P12 the second, again
indicating a pairing of books. All four of these examples are in a similar script, hinting that P11, P12,
P22, and P24 need to be considered in relationship to each other, upsetting the separation of P22
and P24 from the other early sources in Le Huray and Daniel. In P16 it appears without any verse
sections, and with a slightly different appearance. The starts of each are shown in the figures below.
Figure 32 - P11, folio 45v
Figure 33 - P12, folio 8v7
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Figure 34 – P16, folio 23v
Figure 36 - P24, folio 2r
Further to the shared verses, these books demonstrate their relatedness through repertoire.
P22 and P24 have clear correspondence. Near the start both books have a similar sequence of
pieces, Matins music in D by Purcell, in F by Tyler and in C by Richardson, but after that the order
becomes random. P24 is the longer book, containing one hundred and sixty-three items, compared
to P22's one hundred and thirty-two. Of those with a composer attribution all of the works in P22
bar 15 items are also found in P24. The latter book of course has several pieces not found in P22.
P11 is longer than P12, and, whilst they do share some repertoire, each book has music not
contained in the other, so the equivalence is not as clear as with P22 and P24.
4.2.7.5 Hands
A more comprehensive analysis of writing styles is required, and has the potential to give important
information about dating. Overall, in the earlier volumes, a multiplicity of hands is present, with a
variety of ways of writing different musical symbols. Most striking are the square noteheads found
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in P11, P14, P15, P16 and P17, supporting the notion that these contain the earliest sheets. An
example is shown in Figure 10. This variety of hands lends weight to the notion that these are
collections of more or less disparate sheets, gathered into as much order as could be managed.
Figure 37 - P11 page 4
4.2.7.6 Treble part books
The glaring omission in these part books is treble parts. There is a popular view of the reason for this
- in the words of Boag-Monroe, 'perhaps due to the fact that young boys, notorious for being
careless and mishandling music, would have sung the parts'. 148
This is an appealing theory, but we have insufficient evidence to draw any conclusions about the
level of discipline and order in the Minster Choir across the period under study. The fact that the
only pages of treble music we have were rebound later (see discussion of P31, above), while other
books in the set survive intact, may support this idea.
More evidence of the existence of music for choristers is found in two entries in the Governors'
Minute Book. From 22nd November 1710:
Ordered that Mr Day be allowed 25s for the last half a years Sallary of the said Tilsed (because
he left the service at our Lady Day last) in Consideration Mr Day is to prick Out two new service
books for the Singing boys. 149
And from 21st December 1765:
Ordered that new movable desks be made for the Singing Boys: 150
148
Boag-Monroe, 'P10-17 An Assessment of a Little Known Provincial Source’, p11
149
DHC PE/WM/GN/2/1/1
150
DHC PE/WM/GN/2/1/1
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The level of complexity of the repertoire certainly suggests that the boys would have needed music
reading skills to be able to perform as required, and therefore books to sing from. Furthermore, the
prevalence of former choristers in the back row of the choir indicates that they must have gained
the musical skills required, including musical literacy. Whilst children are adept at singing by rote,
therefore, it seems likely that more treble books existed, and have been lost.
4.2.7.7 Personal books
One appealing feature of this collection is the opportunity to link these books to the individual
personnel of the Minster, many of whom we have met in an earlier chapter. There are inscriptions
as follows in bold, with details drawn from the Governors' records:
P12 Jon Gill alias Knight stuck on sheet inside front cover
Jon Gill was a Chorister to 1718, Singingman 1719-1741, Clerke 1741-1771
P14 James King 1729
James King was a Chorister from 1728, Singingman 1734-1754, Clerke 1754-ca1773, son of
William King
Reuben Gill his book in Greek (then repeated in Greek characters)
Reuben Gill was a Chorister 1731 - 1741
God Bless Queen Anne 1737
? Webbes
P17 Samuel Harvey His boock Bassus Decani
Samuel Harvey was a Singingman 1694-1710
William King 1708 (King and 1708 written over each other)
William King His Book 1713
William King was a Chorister from 1698, Singingman 1710-1729, Clerke 1729-1764
P19 Mr Wllm Miles W.M. was Clerke to 1819
Will Lemon no record
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details of cloth
P22 G Oakley
George Oakley was a Chorister from 1744, Singingman 1764-1771, Clerke 1771-1773
P30 Advent Sunday 1 Day of December 1872 Henry Dykes
P34 Roger Willis His Book
Roger Willis was a Chorister 1731-1741, Singingman 1741-1764
John Willis His Book 1766 (on folio 12)
John Harvey Willis was a Chorister 1759-1766, Singingman 1766-1770, Clerke 1770-1781. Both
members of the great Willis dynasty.
As well as placing these books firmly in the Wimborne family, these inscriptions give some clues as
to the life of these books. P12, for example, or at least some sheets of it, were used by a singer who
would have come to it no earlier than 1719. P17, likewise, shows evidence of use from the late
seventeenth century, possibly well into the eighteenth. Even further, a later book, P30 was in the
hands of Henry Dykes in 1872, when published music was much more readily available than at the
time of its initial creation.
They also present a few anomalies.
The inscriptions in P14 appear to be on a sheet stuck in, which might explain the presence of the
name of Reuben Gill, who was only ever a chorister, appearing in a tenor book, and that of James
King appearing at a date just after he had become a chorister.
William King’s signature is dated 1708, two years before he was appointed as a singingman. He
would have been twenty at that time, so was perhaps singing unofficially, or even singing bass while
on the treble payroll – we do not have a date for his dismissal from the top line.
In 1764, according to the Governor's minutes, Roger Willis was replaced by George Oakley. 151
George Oakley resigned in 1766, to be replaced by John Harvey Willis. 152 What can we conclude
from George Oakley of the bass part book P22 coming between two Willises, both of the alto part
151
DHC PE/WM/GN/2/1/1
152
DHC PE/WM/GN/2/1/1
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book P34? Might it be that altos were hard to come by, and the space in the pews needed to be
filled? The alternative versions in Combes' Te Deum in A would certainly indicate that two altos were
not always available. As the Governors' Minutes do not mention voice parts, we can only grasp at
details like these.
One interesting avenue of speculation relates to the unusual book in score P19. The only mention of
William Miles in the records is at the end of his tenure as Clerke in 1819. The vast majority of other
men worked through the ranks as choristers, then singingmen, the clerkes, but it looks likely that
William Miles went straight into his position, as George Matthews, of Winchester, had done in the
1770s. Might he have brought this book with him, as a man with experience elsewhere? If so, he was
a man of some learning, as the notes in his book attest (figure 33).
Figure 38 - P19, final page
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Chapter 4
4.3 Conclusion
An introduction of this sort can only scratch the surface of such a large and complex collection.
However, I hope it brings out some patterns of interconnectedness. From the point of view of
producing an authoritative edition of Combes, groupings have emerged that could indicate a
progression from earlier to later copies. How that will subsequently be handled I will discuss in the
critical commentary to the edition.
I would just highlight two future avenues of research that could fruitfully be pursued, both of which
have been begun in part in this investigation. The first is a comprehensive revision of the catalogue,
correcting errors and providing attributions to anonymous works. The other is a detailed
examination of paper, bindings, and scribal hands to clarify the physical genesis of these books,
which would benefit from the facilities of an archival centre.
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Chapter 5
Chapter 5 Critical Commentary to the Edition of

the Works of George Combes
5.1 Introduction
The extant works of George Combes are substantial and varied. The five complete anthems and
three main sets of service music display a wide range of musical style. At the one end are the most
functional service music items displayed in the communion pieces, and in the settings of the
canticles in E. Here syllabic, chordal music efficiently conveys text, and provides effective liturgical
music. At the other end are the extended verse anthems, where virtuosic solo writing displays the
talents of Combes’s singers, and a range of compositional techniques are employed to give colour to
the text. Together they build a picture of the strong musical establishment for which they were
written, one capable of tackling complex music, and give a sense of the liturgical character of an
important institution.
These complete pieces are given here in performing editions with comprehensive critical
commentaries, discussing the significant variants found across the sources.
In addition to the pieces that have come down to us with sufficiently complete sources to present an
edition with confidence, are a number of fragmentary items. These include service music and an
anthem alongside several psalm tunes. There are also earlier versions of some settings of liturgical
texts. These are presented, edited but not completed, with discussions of the relationship between
early and late versions, where appropriate. This gives a fuller picture of Combes’s musical
development as well as a window into the liturgical life of the Minster.
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Chapter 5
5.2 Overview of Sources containing Combes’s music
Combes’s music, apart from a couple of small published items, comes to us exclusively from the
Wimborne partbooks. There may be a number of factors leading to this situation. As discussed in
earlier chapters, the choral provision at Wimborne was unique in Dorset at the time, so
dissemination locally was likely to be limited. It could well be that Minster musicians such as Richard
Combes and William Hiscock may have taken his music to Holy Rood, Southampton and Christchurch
Priory respectively, but manuscripts have not survived from those churches. Equally, it seems likely
that Combes would have performed his own music when at Bristol but, again, no music manuscripts
survive from that institution.
Combes’s music is found in 21 books - four organ books, one book containing some treble music
alongside alto parts, eight alto, six tenor and three bass partbooks. The distribution of pieces across
the books can be seen in figure 1. More detail on the books can be found in the chapter The Music
Collection at Wimborne Minster.
Due to the uneven spread of books the treble part generally needs to be reconstructed from organ
books; this is also occasionally the case with the bass.
These books can be generally divided into earlier copies and a later set, discussed in detail in the
Sources Introduction, and also in the commentary on each piece. In the later books there is a clearer
distinction between service and anthem books; the distribution of works in earlier books is more
haphazard. The sources are:
Table 16 - Sources of the works of George Combes
Early Late – Anthems Late- Services Psalm tunes
Organ O14, O21 O13, O21, O22
Treble P31
Alto P12, P18, P34 P25, P32 P23, P26 O19, O20, P12
Tenor P13, P21 P29, P33 P27, P28 O12, O18, P13, P21
Bass P22, P24 P30 O11, P22, P24
In many pieces there are significant variants between the early and late sets. These are discussed
and listed in the commentary on each piece. Overall, this edition tends to present the later versions.
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Chapter 5
Whilst I make the case in the chapter The Musical Sources at Wimborne for these sources having
been transcribed by Combes’s son Richard, I would also argue that they represent the refinement of
the pieces through the Minster’s tradition, as guided by George. In many cases they provide
harmonically more polished readings, and show evidence of the development of style in solo lines.
Where earlier sources have something of particular musical importance to offer, these are signalled
in the musical text.
Table 17 - distribution of Combes’s works in the Minster manuscripts, excluding psalm tunes.
O=organ, S=Soprano, A=alto, T=tenor, B=bass, C=cantoris, D=decani.
O13 O14 O21 O22 P31 P12 P18 P23 P25 P26 P31 P32 P34 P13 P21 P27 P28 P29 P33 P22 P24 P30
S A A AD AD A AC A A T T TC TD T TD B B B
Te Deum in D x x x x x x x x x x x x x x
Jubilate Deo in D x x x x x x x x x x x x x x
Kyrie in D x x x x x2 x x x x2 x x x x
Sanctus in D x x2 x2 x x2 x2 x2 x x x2 x2 x2 x x
Early Te Deum in D x x x x
Benedictus in D x x x x
Cantate Domino in D x x x x x
Deus Misereatur in D x x x x x
Jubilate Deo in A x x x x x x x x x
Te Deum in A x x x x x x x x x x
Kyrie in A x x x x x x x x x x
Sanctus in A x x x x x x x x x x
Cantate Domino in A x x x x x x x x x x
Deus Misereatur in A x x x x x x x x x x
Early CD in A x x x x x
Early DM in A x x x x x
Te Deum in E x x x x x x x x
Jubilate Deo in E x x x x x x
Kyrie in E x x x x x2 x x x x x
Sanctus in E x x x x x x x2 x x x x x
Magnificat in E x x x x x x x x x x x x
Kyrie in G x x x x x
Nicene Creed in G x x x x x
Kyrie in G minor x x x x
Sanctus in G minor x x x x
Sanctus in F x x x x x
Sanctus in G x x x x x x x x x x x
Behold, I bring you glad tidings x x x x x x x x x x
Blessed is the Man x x x x x x x2 x x
Bow down thine ear x x x x
Give sentence x x x x x x x x x x
I will magnify Thee x x x x x x x x x x x
The Lord is King x x x x x x x
O13 O14 O21 O22 P31 P12 P18 P23 P25 P26 P31 P32 P34 P13 P21 P27 P28 P29 P33 P22 P24 P30
O O O O S A A AD AD A AC A A T T TC TD T TD B B B
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Chapter 5
5.3 George Combes’s signature
A clear and consistent signature can be ascribed to George Combes. It is found in a number of
receipts for monies paid in the Governors’ records, in the Churchwarden’s accounts, and in a printed
score of Handel’s Coronation Anthems owned by Combes. 153 In the part books it is also seen in the
name attribution on a number of copyings of his music. These are listed below. It is a reasonable
assumption that these items therefore also transmit Combes’s autograph music notation.
There are also possible reductions of the signature, either as G: C or G: Combes. These often appear
on shorter items such as psalms in P13 (f95r), P21,(f144v) and P24 (f133v), or before the second
movement of a pair. There is some expected variability in the signature both in the documents and
the partbooks. Variant forms in a broadly similar style of writing are found, with different
punctuation, the addition of Mr, or the spelling Coombes. In the table below only those in the
format Geo: Combes are noted, as the most likely to represent his autograph.
All of these instances are in the earlier part books, especially P13, P18, P21, P22 and P24. There are
copyings of Combes’s music within those books that do not bear this signature, and some without
attribution at all. The signatures found in P34, a book containing almost all of Combes’s output,
whilst of a similar style are all of variant forms. A distinctly different style of writing the name is
prevalent in later books, matching a very different style of notation.
This supports the suggestion that the earlier books are most closely linked to Combes himself, and
that the later partbooks are transcribed by someone else, probably his son, with P34 standing
somewhat apart.
DHC Governors’ bills and receipts PE-WM/GM/5/4-8, Churchwardens’ bills and receipts PE-WM/CW/2/1.
153
The Handel score is in the personal possession of Dr Richard Hall.
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Chapter 5
Figure 39 - A bill in the hand of George Combes, DHC PE-WM/GN/5/6
Figure 40 - George Combes's signature inside the cover of a full score of Handel's Coronation
Anthems
Figure 41 - George Combes's name preceding a setting of the Sanctus in A, partbook P21 f5v
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Chapter 5
Table 18 - the locations of instances of George Combes's signature in the partbooks
Book Location Piece Adjacent pieces in same hand
P12 f43v Creed in G Preceded by Kyrie
P13 f24v Sanctus in A Followed by Kyrie
P13 f25v Cantate Domino in D Followed by Deus Misereatur
P13 f42v Te Deum in D Followed by Jubilate, Sanctus, Kyrie
P13 f77r Give Sentence
P18 f10r Benedictus in D
P18 f11v Creed in G Preceded by Kyrie
P21 f2v Early Sanctus in D Followed by Kyrie
P21 f5v Sanctus in A Followed by Kyrie
P21 f8v Early Te Deum in A
P21 f10v Benedictus in D
P21 f11v Creed in G Followed by Te Deum and Jubilate in A
P21 f97v Give Sentence
P22 f28v Kyrie in G Followed by Creed
P22 f56r Early Cantate Domino in A Followed by Deus Misereatur
P22 f65v Magnificat in E Followed by Nunc Dimittis
P22 f59v Cantate Domino in D Followed by Deus Misereatur
P24 f65r Cantate Domino in D Followed by Deus Misereatur
P24 f70r Magnificat in E Followed by Nunc Dimittis
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Chapter 5
5.4 Performance Practice
5.4.1 Choral outfit and direction
The vocal forces at the composer’s disposal, described in detail in Chapter 2, consisted of four
boys and six men. The boys often remained in the choir to a greater age than is common with
modern trebles and may therefore have been stronger, but nevertheless the sound would have
had a more even balance of voices than the top-heavy sound often experienced in modern
cathedrals. The music is well suited to this size of performing group. Solo voices are required in all
parts, but most particularly in alto (see below) and bass.
The ensemble would have been led from the organ, the console of which was upstairs on the
screen, without a separate conductor, though possibly with a lead being given by specific choir
members. 154 A group singing together regularly, performing music of a very specific type, would
have developed an instinct for interpretation and ensemble to deliver this music without external
direction.
5.4.2 Organ
The organ of 1664 was a two manual instrument, without pedals. It had a range of open and
stopped ranks, providing contrasting colours, although mutations, if present, were unlikely to
have been extensive. 155 This allows for changes of registration or manual between solo, chorus
and organ only sections, the terms Loud organ and Soft organ being synonymous with Great and
Choir. The two manuals may provide a solution to the seemingly unplayable moment at bar 137 of
Blessed is the Man. Alternatively, the compass of the organ would have allowed this left hand to
be played an octave lower, achievable on a modern organ with a 16’ stop.
The organ was enlarged in 1764, with the addition of a third manual and extra stops, probably
including a trumpet and mutations. There is specific mention of the trumpet stop in Cantate
Domino in A, supporting the assertion that one was added, and the Swell (the third manual) is
mentioned in The Lord is King. Although the organ was restored late in Combes’ time at the
Minster, the increased tonal resources are clearly appropriate for his music.
154
Peter Holman, Before the Baton: Musical Direction and Conducting in Stuart and Georgian Britain.
(Boydell & Brewer, 2020), chapter 1
155
See the section in the organ in Chapter 2
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The organ parts presented here are as they appear in the sources, with only clefs modernised. The
slightly sporadic figures are reproduced without additions, and only a few corrections of obvious
errors. Apart from the Morning Service in D, which is taken from a later source, they all present
the outer vocal lines with occasional inner parts doubled, often in passages of thirds or moments
of imitation. In only one moment (at the end of Give Sentence O Lord) is there an independent
inner part. This is the familiar pattern of writing in organ books from the Restoration onwards
and, indeed, in earlier periods. The exact intention for the performer is a matter of debate. The
question is whether the melodic line is included for information, to guide the performer in
producing a continuo-style accompaniment, or is intended to be played as it stands, with or
without additional harmonies. Rebecca Herissone argues the latter, providing a detailed analysis
of several organ parts to support this theory. 156 Andrew Johnstone comes to the same conclusion,
citing the issue of wind to support thicker textures, and the challenge of transposing parts on
organs pitched a fourth out from the choir, although this last element is not relevant to these
later organ books. 157
In chorus sections and ensemble verses this style would certainly seem appropriate, with top and
bottom lines doubled, and supported by additional harmony indicated by figures and occasional
notated details. The nineteenth-century organ book O13 shows the eventual development to a
style of accompaniment where the full vocal texture is reduced in the organ part.
A different approach might be taken in the purely solo verses, where recitative style and florid
gestures would be compromised by organ doubling. Examples would be the alto recitatives in
Behold, I Bring you Glad Tidings, and Blessed is the Man, and the flourish in b111 of The Lord is
King. Additionally, moments where only a bass line is provided with figures clearly indicate that
some harmonisation is intended.
A special case is The Lord is King. Until the doxology, this is a purely solo anthem. The right hand
of the organ part is notated an octave higher than the voice, which would give it undue
prominence. Perhaps here, and in other extended solo movements, notational tradition and
156
Rebecca Herissone, To Fill, Forebear, or Adorne : The Organ Accompaniment of Restoration Sacred Music.
(Royal Musical Association Monographs, No. 14. Aldershot, England: Royal Musical Association/Ashgate,
2006). See also reviews by H. Diack Johnstone, “'To Fill, Forbear, or Adorne': The Organ Accompaniment of
Restoration Sacred Music (Review).” Music and Letters 88 (4) (2007): 653–55 and Robert Quinney “Reading
between the Lines. (to Fill, Forbear, or Adorne': The Organ Accompaniment of Restoration Sacred Music)
(Book Review).” Early Music 35 (1) (2007): 115.
157
Andrew Johnstone, “‘As It Was in the Beginning’: Organ and Choir Pitch in Early Anglican Church Music.”
Early Music 31, no. 4 (2003): 507–25.
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newer musical styles are at odds, and a more continuo-style accompaniment should be
improvised. 158
Bass verses present a particular issue, with lines too close together to permit harmonic realisation
between the melodic and bass lines. In these cases, harmonies could be realised above the vocal
line, or doubling omitted. 159
Although figures are often present in solo organ moments with both hands, realising them would
prove challenging and has a risk of losing clarity of texture. They tend to be written in an
ornamented style, and are harmonically self-sufficient.
5.4.3 Altos
A particular feature of the anthems in particular is the extensive solo use of the alto or counter-
tenor voice (both terms are used in the partbooks). The range of these sections is noteworthy.
Whereas the vocal range of choral alto parts is generally limited to the fifth d – a above middle c,
the solo lines use a much fuller range, often extending down to e below middle c. The more
restricted tessitura of the choral sections can be explained by the harmonic space between the
tenor below and the treble above, and the chorus lines never go higher than the top point of the
solo lines. There is a greater sense of dialogue with the tenor (as the name countertenor implies)
in the ensemble verse sections – see in particular the opening of I Will Magnify Thee.
Andrew Parrott has spearheaded the argument that falsettists are much less a part of the English
choral tradition than is commonly assumed. 160 The suggestion that alto parts should rather be
sung by light, higher-voiced tenors singing in full voice throughout certainly rings true with the
solo parts of this repertoire.
An interesting anomaly is the existence of the extended solo anthem The Lord is King in both A
major and B flat major. It is possible that the lowering of organ pitch in 1764 presented challenges
in a piece that explores the extremes of the voice, and that the upward transposition was found
more comfortable.
158
The development of accompanying style through the eighteenth century is acknowledged by Herissone
To Fill, Forbear or Adorne, p73
159
Herissone To Fill, Forbear or Adorne, 62-66
160
Andrew Parrott, ‘Falsetto Beliefs: The “Countertenor” Cross-Examined’, Early Music 43, no. 1 (1 February
2015): 79–110. See also Peter Giles, The History and Technique of the Counter-Tenor : A Study of the Male
High Voice Family (Aldershot, Hants, England: Scolar Press, 1994) and Eliza Wilson, ‘The Countertenor in the
Symphony Anthems of Henry Purcell: A Study of Range and Tessitura’, PhD thesis, University of Urbana,
Illinois, 2003.
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5.4.4 Pitch
The recent work of the Early English Organ project has thrown new light on the question of pitch
in early English church music. 161 The assumption of an upward transposition of a minor third is
challenged, and something closer to a semitone suggested. The same pitch standard seems to
have prevailed in post-restoration organ building. This is complicated by the likely lowering of
pitch by two semitones in the organ rebuild of 1764. 162 Performance at modern pitch is extremely
feasible with the vocal ranges used, the only challenge being provided by the alto solos, discussed
separately.
5.4.5 Tempo relationships and bar lengths
In the service music the basic unit of pulse is the minim, and several pieces feature frequent shifts
between duple and triple time. As these are always separated by a full cadence, there is no
practical need for a strict tempo relationship between the sections. However, performers may
find a quicker minim pulse in triple sections effective, leading to a semibreve of duple time
becoming a dotted semibreve in triple time.
In the anthems a more variable approach to tempo is clearly indicated by the changes in musical
style inspired by the text. ₵ or 2/2 is used for almost sections in duple time, even where a crotchet
pulse seems appropriate. The various 2/2 sections in I Will Magnify Thee, for example, are clearly
intended to be sung at different tempi. The only exception is bar 63 in Give Sentence, O Lord,
which is in 4/4, and marked Slow in the organ part only. Likewise, there is no consistent
relationship between 3/4 and 3/2. In Give Sentence, the 3/4 section at bar 17 would suggest a
steadier tempo than the final 3/4 section, marked Lively, in bar 73. However, the 3/4 and 3/2
sections of I Will Magnify Thee and Behold, I Bring You Glad Tidings could be sung at the same
speed. Indeed, the organ part of the latter transitions between the two mid-section (see Critical
Commentary).
The barring in this edition generally follows the usage of the later organ and partbooks, giving two
minim bars. However, this is often less consistent in earlier sources, which had led to the different
approach in Give Sentence, O Lord. In 2/2 sections where a minim pulse is implied, it is worthwhile
to have in mind the effect given by 4/2 bars, with a longer approach to phrasing.
161
https://www.rco.org.uk/library_tudor_organs.php accessed 01/05/2023, Johnstone, ‘As It Was in the
Beginning’
162
Email conversation with Dominic Gwynn.
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5.5 Editorial Practice
5.5.1 Verse and Chorus allocations
These have been regularised and placed above the stave. The terms ‘verse’ and ‘solo’ are used
variously in the sources, and chorus generally indicated by ‘Cho:’. There are a number of
indications in the partbooks of ‘Lead’, indicating a single voice introducing a contrapuntal point.
These have been removed, as unnecessary in a score.
5.5.2 Instructions in score
Apart from the indications discussed above, performance instructions are given as in the source,
with abbreviated words expanded in square brackets.
5.5.3 Rhythms
Rhythmic suggestions are placed in small notes above the score. Suggested ties are indicated by
dotted lines.
5.5.4 Accidentals
Accidentals have been modernised, with repeated accidentals within a bar removed, and sharps
and flats used to indicate naturals altered. Accidentals in brackets are editorial.
5.5.5 Treble parts and Editorial notes
Much of the treble parts has had to be reconstructed from organ books, as noted in the
commentaries on individual pieces. Reconstructed parts and notes that have otherwise been
supplied or altered editorially are shown in small notes.
5.5.6 Beaming and slurring
Underlay is indicated in sources through a variety of beaming and slurring. The former is largely
consistent across the sources, the latter less so. Slurring generally only appears to be connected
to underlay, not musical intent. Beaming and slurring have been modernised here without further
comment, with clarity for performers in mind. Beams follow syllables, and slurs are used to
indicate underlay, though long phrases are not slurred where underlay is clear. Any departures
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from these principles are taken from the sources. Beaming and slurring in the organ part is as in
the source.
5.5.7 Barring
In duple time sections where minims and crotchets predominate there is a variety of approaches
to barring across the sources. Most unified are the vocal partbooks from the later groups, namely
P23, P25, P26, P28, P29, P30, P31 (treble section), P33 and, to an extent, P27. In these such
sections are consistently presented in two minim bars. The remaining, earlier sources are more
variable. Often barlines are missed where they would be crossed by a semibreve or dotted minim,
and there are other occasions where bars are longer.
The organ books sometimes use four minim bars in these sections. The service in E and Sanctus in
F in O22 have 4 minim bars, as does the anthem Give Sentence in O21. However, the services in A
and D and the other anthems do not have this feature. An anomaly is the organ part of Blessed is
the man in O14, where the opening figure would result in several notes crossing barlines, so there
are several irregular bars.
The decision taken in this edition is to adopt the style of the later partbooks with two minim bars,
with the exception of Give Sentence for reasons given in the commentary on that piece. Instances
of dots across barlines or notes written on barlines have been altered to tied notes without
further comment.
5.5.8 Text
Provenance and issues with text are discussed in separate sections. The text has been
modernised, following spelling in the 1662 Book of Common Prayer for liturgical texts and Psalms,
and the King James version of the Bible. Occasional idiosyncrasies of text which need to be
retained for musical reasons are explained in the commentaries on individual pieces. In the text in
the introduction to each piece, these are indicated by italics. Punctuation is missing in the
manuscripts and has been added here, following modern practice.
5.5.9 Organ part
Organ parts are written on five-line staves (O13, O14) or six-line staves (O21, O22). Treble,
soprano, alto and even bass clefs were used in the right hand, following the highest voice in the
section; in six-line writing a C clef on the bottom line was used for treble passages and on the
third line down for alto passages. The left hand was written with an F clef on the third line down.
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A variable amount of text was presented in the organ part, ranging from brief cues to fully written
out words.
With the exception of O13 (see introduction to Te Deum and Jubilate in D), the organ parts simply
present the upper vocal part and a bass line, with occasional extra harmony notes.
The organ part is presented here largely as it appears in the score, with the following exceptions.
The treble clef is used throughout in place of C clefs, and five-line staves used. The text written
out in the source has not been included here, following the customary practice of a vocal score.
Figured bass is presented as in the source – it is not comprehensive. Corrections to inaccurate

figures (generally missing sharps) are included in brackets, but no attempt has been made to
complete the figuring.
5.5.10 Alto parts
The original alto parts are written in C3 clef. In modern choral scores this produced a range that
lies between treble clef and octave-transposed treble (tenor). This is a particular problem in this
repertoire in solo items where the line often lies very low (see Performance Practice). The
decision here is to put alto parts in treble clef for the most part, following current customs, but to
put anthems with extensive solo parts in octave-transposed treble.
5.5.11 Prefatory staves and range finders
Prefatory staves show the clefs and first notes from the sources (where they exist). The white
notes in range finders indicate the outer notes of solo sections, black notes show chorus range.
5.5.12 Textual Commentary
The textual commentary describes all variants from the music as presented in the edition, across
all sources.
Symbols Pitch is in Helmholz notation, with octaves starting from C, as follows
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Chapter 5
The following abbreviations are used – sq = semiquaver, q = quaver, cr = crotchet, m = minim, sb =

semibreve, b = breve, dq = dotted quaver etc, gn = grace note
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5.6 Anthems
The Wimborne partbooks contain six anthems by George Combes. They all follow the model of
large-scale verse anthem, with solo voices providing the bulk of the material, and the chorus often
left to provide merely the final section. This is a pattern familiar in the Restoration repertoire,
with adult voices (alto, tenor and bass) providing the solo passages, often in trios. 163 Even more
notable in four of these pieces, however, is Combes’s development of the tradition of solo writing
within such compositions. He favours extended solo and duets, often featuring florid writing and
recitative passages, showing the influence, perhaps transmitted through composers such as
Purcell, of Italian cantatas. This style culminates in the solo anthem The Lord is King, where the
single voice only gives way to the choir for a brief doxology. All of these extended passages are for
alto and bass, perhaps reflecting the individual vocal resources at his disposal at the Minster. Two
other anthems, Bow Down Thine Ear and Give Sentence, O Lord, are more ensemble based, with
indications that the former anthem, incomplete in the sources, had passages in larger numbers of
parts. All anthems are accompanied, and the organ often has a prominent role, with solo passages
woven between the vocal lines.
Most anthems set verses of the Psalms. The exception is Behold, I Bring you Glad Tidings, which
takes its text from the Gospel according to Luke.
One anthem, Bow Down Thine Ear, is fragmentary and can be found in the Incomplete Works
section of this edition, but the other five are presented here in a practical, critical edition, with
notes and textual commentary.
5.6.1 Sources
The anthems are transmitted in various combinations of the following fifteen sources:
Alto P25, P32, P31, P34
Tenor P13, P21, P27, P29, P33
Bass P22, P24, P30
Organ O14, O21
163
Ian Spink, Restoration Cathedral Music, 1660-1714 (Oxford: Clarendon Press, 1995), 34-35.
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Chapter 5
Of these, the following form the Late Anthem Group, possibly copied by Richard Combes, as
described in the Sources Introduction:
Alto P25, P32
Tenor P29, P33
Bass P30
Organ O14
These provide complete readings for four anthems – Behold, I Bring you Glad Tidings, Blessed is
the Man, I will Magnify Thee, and The Lord is King. In these books, solo alto lines are only
transmitted in one or the other alto book – P32 for The Lord is King, P25 for the others. Other
readings for these pieces, and the other two anthems, Give Sentence, O Lord, and the fragmentary
Bow Down Thine Ear, are found in a more disparate collection of earlier books:
Alto P23, P31, P34
Tenor P13, P21, P27
Bass P22, P24
Organ O21
Significant patterns of variants can be found between the two sets, with a high degree of
uniformity (though not absolute) within the late set, and a more variable level of correlation
amongst the other books. Specific examples are discussed in the introduction to individual pieces.
More generally, this presents an editorial challenge – which reading is to be preferred? If the
principle of Fassung letzer Hand is to be observed, the later versions would present an
authoritative, final version, refined by the composer. This situation is complicated, however, by
the probability that these books were copied by Richard Combes, George’s son and successor at
the Minster (see Sources Introduction for the evidence supporting this). To swing the arm back, it
could be argued that this is still within the performance tradition shaped by George, and likely to
be the result of his years of performing these pieces with the choir.
The unified character of the later sources is certainly attractive to the editor, and their use is
necessary for completeness, with the organ part only appearing in the late set for four pieces, and
several other parts being absent from earlier copies. However, the earlier sources do provide
interesting performance options that are likely to represent the composer’s original thoughts, and
are worth considering.
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The solution reached here is to take the main reading from the later sources for the four relevant
anthems. All variants are listed in the Textual Commentaries, but where these are on a large scale
and seem to be particularly worth performers’ consideration they have been marked in the score
through rhythmic suggestions, ossia staves or a direction to the critical commentary.
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5.6.2 Behold, I bring you glad tidings
This extended verse anthem makes prominent use of an alto soloist, as do many of Combes’s
anthems, and brief organ symphony, alongside the lower-voice trio familiar in verse anthems. The
adaptation of the text discussed below leads to a ‘ritornello’ style, with a repeated chorus.
5.6.2.1 Text
The words are taken from the second chapter of Luke, the appearance of the angels to the
shepherds at the Nativity. The King James version is used, though with the substitution of the
word ‘glad’ for ‘good’, a change is seen in many other settings. The biblical text is freely treated,
with phrases taken out of order, and a Hallelujah added, as shown below. The text is one often
set, by composers including Gibbons, Tomkins and Purcell, each using their own combination of
verses. 164 However, the only setting other than Combes’s found in the partbooks is by his
predecessor, George Day. This earlier setting is also a varied verse anthem featuring alto solo, alto
and bass duet, and lower-voice trio. It demonstrates a similarly free approach to the text, with
interjections of ‘Glad tidings’ during the verse ‘that unto you’ etc, and repeated sections of
Halleluiahs. It also includes an un-notated organ ritornello. Combes may well have been familiar
with the work, and drawn on its approach.
Alto verse
10b Behold, I bring you glad tidings of great joy, which shall be to all people.
11 For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
Chorus
10b I bring you glad tidings of great joy, which shall be to all people.
Trio verse
14 Glory to God in the highest, and on earth peace, good will toward men.
Chorus
164
Orlando Gibbons and David Wulstan, Verse Anthems. Transcribed and Edited by David Wulstan. Early
English Church Music ; 3. (London: Stainer & Bell for the British Academy, 1964). Thomas Tomkins, William
Godbid, and Timothy Garthwait. Musica Deo Sacra & Ecclesiæ Anglicanæ: Or, Musick Dedicated to the
Honor and Service of God, : And to the Use of Cathedral and Other Churches of England, Especially of the
Chappel-Royal of King Charles the First. (London: Printed by William Godbid in Little Britain, and Are to Be
Sold by Timothy Garthwait in Little S. Bartholomews Hospital., 1668). Purcell is in volume 3 of Boyce,
Cathedral Music
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Chapter 5
10b I bring you glad tidings of great joy, which shall be to all people.
Alto verse
13 And suddenly there was with the angel a multitude of the heavenly host praising God, and
saying
Alto verse and Chorus
Hallelujah
5.6.2.2 Sources
Treble Reconstructed from organ book O14 (p124-135)
Alto P25 (p1-6), P32 (p2-3), P34 (f41r-42v)
Tenor P21 (f101r-101v), P29 (p1-4), P33 (p4-7)
Bass P22 (f114v-115r), P24 (f79v-80r), P30 (p1-3)
Organ O14 (p124-135)
The principal reading for this edition has been taken from the late anthem set, as these provide a
complete and consistent group. These books are:
Alto P25, P32
Tenor P29, P33
Bass P30
Organ O14
The alto book P32 only contains chorus material.
In this group the anthem appears as the first item in P25, P29 and P30, second in P32 and fourth
in P33. There is considerable similarity in the hands between these sources which, combined with
other factors discussed in the introduction to the sources, implies their being written as a set.
The other scores are:
Alto P34
Tenor P21
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Chapter 5
Bass P22, P24
These have variants from the main reading which are noted below. It can be seen that there is
some consistency in the variants within this group. The most obvious example is the ending,
where an isolated minim chord precedes the final cadence. Of particular interest is P24, where a
later hand has added a note in the rest, to bring the part into conformity with the later version.
One particular issue is the choice of reading for the alto solo. In most cases the organ seems most
closely matched with P32, particularly shown in the recitative in bars 156-164. The final section
poses some difficulties, however. There is a significant pitch variant in bars 187-188, where the
organ and P32 agree, against a different reading in P34. However, for much of this section the
organ and P34 are more closely aligned in terms of rhythm. Here the edition follows the organ
part, adapting the vocal line in P32 and allowing modifications to the latter where the organ
agrees with P34. All variants are logged in the critical commentary and, in one case, as an ossia
stave.
5.6.2.3 Repeats
A feature of Combes’s musical style is the repetition of final phrases of sections, such as in bars 80
- 83. In a few cases these are indicated by repeat markings rather than being written out, these
instances being found in P21, P24 and O14. See the discussion of the early version of the evening
canticles in A in the Incomplete Works section of the edition for a consideration of the
development of this musical feature.
5.6.2.4 Additional score
In P24 a curious feature is appended at the end of the piece. There we find, in very small script, a
short score (2 staves) of the verse ‘Glory to God in the Highest’, bars 84-129. Apart from a missing
sharp, it is in agreement with the vocal partbooks.
5.6.2.5 Verse and Chorus allocations
There is one ambiguity in the allocation of forces in bar 58, which is repeated in bar 130. Here, the
alto solo part P25 has the indication ‘Cho (lead)’. The other alto solo book P34 and the organ book
have chorus marked on the last note of bar 60, which is when the other voices enter. The alto
chorus book P32 also begins here. Therefore, despite the new text beginning in bar 58 it would
seem correct that the chorus is introduced by a solo alto here, rather than the full section.
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5.6.2.6 Rhythms
Rhythmic suggestions in small notes above the score often serve to line up organ and vocal parts.
One distinctive notational feature appears in bars 179-181 and 191-193. The stems of the organ
part are as presented in the edition, but with the noteheads aligned on the final semiquaver, as
shown here:
Figure 42 - Behold, I Bring you Glad Tidings, bars 191-193, O14
This is a clear indication that the quavers are to be altered to fit with the dotted rhythm, so
editorial suggestions follow that principle.
5.6.2.7 Barring
Barring is regular in all sources of this piece, and followed here, with the exception of bars 130-
132 in the organ part, explained in the textual commentary.
5.6.2.8 Textual Commentary
Bar Part Comment
32 A P34 beat 1 qq
50 A P34 cr gn cr cr, f’ e’ d’ c (see b47)
67-68 B P22 and P24 have a in place of A each time
67-69 T P21 e’ a e’ e’ a e’ e’ c
80-83 T, O P21 and O14 repetition not written out but indicated in symbols
99 T P21 sb m-rest
104 O O14 RH lower voice, note 1, b
106 T P21 first note, b
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108 B P22 and P24 have indication ‘Lead’
110-111 B P30 text is ‘-will towards men’
111 O O14 RH lower voice, e#
111 Vocal score in P24 middle voice, d natural
112-113 B P22 slur from b112, note 4 – b113, note 1, with ‘-wards’ on bar 113, note 2
112-113 A P34 slur b112 from note 3 to note 4, ‘towards’ shifting to b 113
113 O O14 # missing on d’
114 T P21 P21 sb m-rest
122 A,T,B P21, P24 and P34 have m m on ‘To-‘, m on –‘wards’
123 A P34 e
124-129 B, O P24 and O14 repetition not written out but indicated in symbols
128 A,T,B P21, P24 and P34 have m m on ‘To-‘, m on –‘wards’
129 A, B P22, P30, P34 sb
130-132 O O14 is written out in the previous time signature, with double note values,
reverting to ¾ on the last beat of bar 132, with a clef change to treble.
132 A P34 c gn c c, e’ d’ c’ g’
139-140 B P22 and P24 have a in place of A each time
139-141 T P21 e’ a e’ e’ a e’ e’ c
152-155 T, B, O P21, P24 and O14 repetition not written out but indicated in symbols
156-164 A P34 has a small piece of paper containing two lines of music stuck over here. In
b158, additional rests push the music on by two beats, giving the following reading:
Whilst this removes the slightly awkward rhythm of bar 158, the P25
reading is supported by the organ part, so is retained here.
175 A P25 1st note b’
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180 O O14 has been corrected from the RH lower part reading f#’ d’ e’ f#’
187 A P34 6th note onwards cr q q, b a g
188 A P34 q q q q cr cr, b a g f (sic) g g
190 O O14 last note is f, departing from the bass part, and is retained here
191-194 B P22 and P24 have a single statement of Halleluia, the long run on ‘Hal-‘
197-198 A P34 under a single slur, with text obliterated after ‘Ha’
198 A P34 cr q q m, g’ f#’ e ‘ f#’.
201 T P21 4th note c’
203-213 A The ossia here is the reading from P32, the main text P34
217-218 A P34 each bar dq sq q q c c
220-222 A P34 each bar dq sq q q c c
224 – 225 A, T, BP21, P22, P34 have mr, m, mr, m. P24 has this rhythm, but altered to match
the later version
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5.6.3 Blessed is the Man
This anthem is a showcase for alto and bass singers, with each voice having solos and engaging in
duet. The final section involves the chorus providing interjections between ornamented writing
for the two soloists. It was performed at the Friendly Society Meeting of 1756.
5.6.3.1 Text
The text of this anthem is from Psalm 112 in the Coverdale, or Book of Common Prayer,
translation, verses 1, 5, 2, 6, 9 (1st half), 3. Verse five has been altered, with the words ‘and will
measure his works with judgement’ replacing ‘and will guide his words with discretion’. This is a
reasonable translation of the Hebrew, closer in sense than Coverdale, though not one found in
any published translation. 165 Perhaps one of the clergy at the time had a scholarly bent, and
suggested this wording. Whilst this is a Vespers psalm, and therefore much set in Latin, it is not a
text with a great number of English settings – Purcell’s (Z9, ca 1688) uses a metrical version by
Patrick; there are a number of setting of the Tate and Brady version; Boyce’s setting uses verses 1-
3 and 6-7. 166
Alto and Bass verse
1 Blessed is the man that feareth the Lord: he hath great delight in his commandments.
Alto recitative
5 A good man is merciful and lendeth: and will measure his works with judgement.
Alto verse
2 His seed shall be mighty upon earth: the generation of the faithful shall be blessed.
Bass verse
6 For he shall never be moved: and the righteous shall be had in everlasting remembrance.
Alto verse
9a He hath dispersed abroad, and given to the poor:
165
https://www.biblegateway.com/verse/en/Psalm%20112%3A5 accessed 05/09/2021
166
Henry Purcell, Robert Thompson, and Purcell Society. Sacred Music. Part V, Continuo Anthems, Part II /
Henry Purcell ; Edited under the Supervision of the Purcell Society by Robert Thompson. (London: Stainer &
Bell, 2011). Boyce’s is in William Boyce, A Collection of Anthems and a Short Service in Score, for 1. 2. 3. 4. 5
and 8 Voices, Etc. (London, Printed for the Widow of the Author, 1790.)
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Chapter 5
3a Riches and plenteousness shall be in his house:
Chorus
3b [and] his righteousness endureth for ever.
5.6.3.2 Sources
Treble Reconstructed from organ book O14 (p14-32)
Alto P25 (p13-18), P32 (p6)
Tenor P29 (p7-8), P33 (p9-10)
Bass P22 (f83r, f116r), P30 (p7-11)
Organ O14 (p14-32)
This anthem is found in seven sources, of which five are the ‘late anthem group’ – P25, P29, P30,
P32, P33, and their attached organ book, O14. The only other place it is found is in P22, where it
appears twice. The first instance included the solo parts, but breaks off at the end of a page, after
bar 142. It appears on the recto side, the verso is an unrelated piece, with significant bleed
through of ink. The second appearance contains just the chorus parts, which enter in the final
section. It is possible that these pages belonged together before rebinding, as the verses prior to
the chorus are not indicated in the second appearance. It is somewhat uninformative as to the
length of verses in the sections of quick interchange between verse and chorus. The alto book P32
only presents the chorus material.
There are some marked differences in the opening bass verse between P30 and P22. In both
major variants P22 follows the harmonic bass, largely matching the organ part, whereas P30 takes
more melodic lines. This would seem to be a recomposition of an original presented in P22, and
we can not know whether it has the composer’s authority, given the possibility of the later books
having been written out by his son Richard. However, clearly the later books represent the
performance tradition at the Minster, over which George Combes had enormous influence, so it is
reasonable to accept these later readings. A reading from P22 at the end of the work is not
compatible, rhythmically or harmonically, with the other preserved parts, including the organ.
The paucity of other sources for this piece mean that the only option is to present the later
version. Whilst it is clear that there is an earlier version with some significant differences, is it not
possible to reconstruct it. Furthermore, the version presented in the late anthem set is fully
workable, and is likely to have the usage of years behind it.
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Chapter 5
Grace notes are consistently written as crotchets in the alto book P25, and as quavers in the organ
book O14. These discrepancies have been retained, giving performers freedom to decide on the
absolute length.
Bar Part Comment
20-25 B P22(i) has different line, following the organ bass:
36-37 B P22 sb m m, d G b
147 B P22 has the suggested rhythm, matching the organ and suggesting the
alteration in b169 (which is missing in P22)
236 T All sources have a d e f, adjusted here to fit harmony
246 B P22 A
265 B P22 cr, cr, cr-rest, cr
266 B P22 2nd note g
270 B P22 2nd note g
279-282 B P22 the penultimate phrase is different, and lacks rests before the final line:
279 B P22 dsb
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Chapter 5
5.6.4 Give Sentence
This verse anthem features alternation of chorus and three-part (alto, tenor, bass) verse. After the
imitative opening there is a great deal of chordal writing, but Combes is at pains to reflect the
emotional journey of the words, with contrasts of key and style. It contains none of the prominent
solos for alto and bass so distinctive of many of Combes’s anthems, which perhaps explains its
omission from the later sources.
5.6.4.1 Text
The text is the entirety of Psalm 43, largely in the Coverdale translation, and a doxology. There are
three variants. In verse two ‘the enemy’ is replaced by ‘mine enemy’, consistently across the
sources. In verse three ‘and bring me unto thy holy hill, and to thy dwelling’ becomes ‘and bring
me to thy holy hill of thy dwelling’. This variant is not found in any published translations and may
be, as can be seen in Blessed is the Man, a local correction of an inexactitude in Coverdale. It may,
however, simply be a shortening for musical reasons. In verse four the first ‘unto’ becomes ‘to’,
and ‘even’ becomes ev’n’. All are retained as they are consistent, and seem likely to be
intentional, in two cases being necessary for the musical rhythm. The colon at the mid-verse point
of verse three –‘that they may lead me: and bring me…’ runs contrary to the musical sense here,
so has been omitted.
Chorus
1 Give sentence with me, O God, and defend my cause against the ungodly people: O
deliver me from the deceitful and wicked man.
Verse
2 For thou art the God of my strength, why hast thou put me from thee: and why go I so
heavily, while mine enemy oppresseth me?
Chorus
3 O send out thy light and thy truth, that they may lead me: and bring me to thy holy hill of
thy dwelling.
4 And that I may go to the altar of God, e’vn unto the God of my joy and gladness: and upon
the harp will I give thanks until thee, O God my God.
Verse
5 Why art thou so heavy, O my soul: and why art thou so disquieted within me?
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Chapter 5
6 O put thy trust in God: for I will yet give him thanks, which is the help of my countenance,
and my God.
Chorus
Glory be to the Father, and to the Son: and to the Holy Ghost.
As it was in the beginning, is now, and ever shall be: world without end. Amen.
5.6.4.2 Sources
Treble Reconstructed from O21 (p40-50)
Alto P23 (p18-19), P31 (inverse p12-16), P34 (f29r-30r)
Tenor P13 (f77r-79r), P21 (f97v-98v), P27 (inverse p13-17), P33 (p39-44)
Bass P22 (f85v-86v), P24 (f128v-129v)
Organ O21 (p40-50)
P23 only includes chorus material.
It is not possible to find a single, unified set of parts to provide a reading of this piece. Rather,
anomalies between two main related groups must be resolved to arrive at a performing version.
In the trio verse sections there are a large number of variants, mostly of rhythmic detail. These
variants indicate that there are two main groups of sources.
The first, probably earlier, group is P13, P21, P22, P24, and P34. P22 and P24 have the same
reading apart from one error and two optional octaves at cadences. In some instances these are
joined by P13, P21 and P34. The second group contains P27, P31, and P33. These copies differ
from the other set at several points. P33 is the only copy in the late anthem group, which provides
the main reading for most of the anthems. This book in any case shows crossovers with other sets
(see sources introduction for more detail). The alto partbook P23 contains only chorus material,
and therefore cannot be linked through these significant patterns of variants. However, in bar 56
there is a variant that appears to be an error shared between P23 and P34, which indicates a
connection between these sources. The organ often has sustained notes over the rhythmic
details, but where it has rhythms matching the voices, it concurs more with the latter group,
though not absolutely.
Repetitions give us another insight into relationships between the sources. In bars 41-47 the final
phrase is repeated. This repetition is missing in P13 and P21, indicated by repeat marks in P22 and
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Chapter 5
P34, and indicated by pencilled repeat marks in P24. It is written out in full in the other sources.
This could indicate that it is an adaptation of the original, adjusted and marked in some copies but
not others, and adopted as an integral part of the piece in the later sources.
Further kinship between these groups can be seen in some other notational features. The later
group are visually very similar, with the composer’s name written in the same way (though P33 is
a little less florid), the same way of writing stems (when descending they are on the right for
minims, the left for crotchets), and the same spellings of the text (for example, the second word
‘sentance’).
The earlier group is more varied, with a different paper shape in P13. Of these, P21 and P22 have
the unusual stems, P34, P13 and P24 do not; P22 has the spelling sentance, the others do not; and
there are four different ways of presenting the composer’s name. Of these, P13 and P21 share a
similar style, which is also seen on the flyleaf of a printed book belonging to Combes, and may
therefore be his personal signature. 167
The sources with the spelling ‘sentence’ also use variants such as ‘ye’ for ‘thee’ or for ‘the’, and
‘yu’ for ‘thou’, indicating older scribal patterns. Those with the spelling ‘sentance’ (now
considered incorrect) are also more likely to have ‘alter’ for ‘altar’ though the pattern is not
absolute. The organ book uses ‘sentence’.
We are therefore left with a situation where no group is entirely complete – the first set has one
alto, two tenors and all the basses (two). The second has one alto, two tenors and the organ.
Furthermore, there are inconsistencies within these groups. As these issues are predominantly
concerned with verse sections, which do not involve the treble part, the earlier group can be seen
as the more complete, providing a full reading of the lower three voices. It therefore provides the
first point of reference for this edition.
There are a number of instances where basses have straight quavers, with upper voices having
dotted rhythms, in a variety of contexts such as bars 32, 66, and 103. This occurs within the first
grouping of sources, so it could be argued that these differences are intentional, and they have
been retained here. Apart from these moments, however, I consider it appropriate for the voices
to sing with a unified rhythm. I have therefore presented a rhythm as principally informed by the
earlier sources, with variants listed in the textual commentary. Performers should feel free to
reach a rhythmic style which they feels conveys the text best.
See the chapter ‘George Combes and the Friendly Society’ for more detail on this printed score of
167
Handel’s Coronation Anthems.
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Chapter 5
5.6.4.3 Reconstruction of treble part
The pitches of the treble part can be confidently reconstructed from the top line of the organ
part, which it consistently doubles in chorus sections. Some liberties are necessary with note
lengths, however. The organ part frequently does not have repeated notes played, which is
dissimilar to the organ parts of the other works of Combes. Therefore a judgement must be made
to find comfortable word setting, often informed by correlation with other voice parts. This has
been done without further comment.
5.6.4.4 Barring
Duple time sections are generally notated in the vocal books with two minims to a bar, though
frequently with missing barlines, especially in earlier sources. However, in the organ book, bars 1-
16, 48 – 62 and 113-end are given in 4 minim bars. The passage in bars 63 – 72 is given in 2 minim
bars, and the contrast of style is evident. All of these sections are given a cut-C time signature in
the organ books, whereas the vocal books have cut-C for most sections, but C for bars 63-72
To highlight the difference in metre between the sections, the barring of the organ part has been
adopted here, but a C time signature given in bar 63.
5.6.4.5 Organ part
This is the only Combes anthem preserved in O21; the rest come to us in O14. The notation differs
in using a six-line stave, with the C clef on the bottom line for sections involving trebles, and on
the third line from the top in verse sections with alto as the highest voice.
Bar Part Comment
15 T The last two notes are as they appear in all sources, creating a shapely line but
rather stark dissonance.
16 B P24 octave Gs
22 T P13, P21 3rd – 4th notes q q
25 T P13 4th-5th notes dq sq
32 A P34 1st – 2nd notes q q
34 AT P27, P31, P33 1st – 2nd notes dq sq
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Chapter 5
37 AT P27, P31, P33 1st – 2nd notes dq sq
42-47 A T B P12, P21 omitted, P24 repeat indicator
42-47 AT Rhythmic variants as 36-39
50 A P23, P31 1st note m (sic)
50 T P27, P33 cr-rest to start
52 T P13 2nd note no natural (on a new line)
56 A P23, P34 4th-6th notes f’e’e’
56 T P13 1st notes ab
60 O O21 1st-2nd notes mm
62 B P24 octave Gs
63 All ‘Verse slow’ marking from O21
63 A T O O21, P27, P31, P33 5th-8th notes q q dq sq (as indicated in score)
66 AT P27, P31, P33, P34 dq sq q q m
73 O O21 has ‘faster’
90 O O21 3rd note, middle part b, adjusted to match tenor
97 O O21 4th note, middle part b, adjusted to match tenor
106, 111 A There is a discrepancy between organ and voice, which performers can resolve
as they like. I give one suggestion.
107-112 AB P24, P34 repeat indicators
124 A P34 ‘A-‘ on second note, supported by slur
124-125 T All sources have 124 5th-8th notes gabc’, 125 c’d’e’. Adjusted here to fit other
parts.
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Chapter 5
5.6.5 I Will Magnify Thee
This verse anthem is typical of Combes’s style, featuring extended solos for alto and bass and
lower voice trios, passages of organ solo, and the chorus joining for the final section.
5.6.5.1 Text
The first five verses of Psalm 30, in the Coverdale translation, with a substitution of God for Lord
Trio verse
1 I will magnify thee, O God, for thou hast set me up: and not made my foes to triumph
over me.
Alto verse
2 O Lord my God, I cried unto thee: and thou hast healed me.
Bass verse
3 Thou, Lord hast brought my soul out of hell: thou hast kept my life from them that go
down to the pit.
Trio verse
4 Sing praises unto the Lord, O ye saints of his: and give thanks to him for a remembrance
of his holiness.
Chorus
5 For his wrath endureth but the twinkling of an eye, and in his pleasure is life: heaviness
may endure for a night, but joy cometh in the morning.
5.6.5.2 Sources
Alto P25 (p22-26), P32 (p8), P34 (f39v-40v)
Tenor P13 (f87v), P21 (f102r-102v), P29 (p9-p12), P33 (p13-p16)
Bass P22 (f63v-65r), P24 (f100r), P30 (p14-19)
Organ O14 (p51-67)
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Chapter 5
P13, P24, and P32 only contain chorus material. Of these, P13 and P24 have no indication of the
solo sections, nor composer attribution.
The principal reading for this edition has been taken from the late anthem set, as these provide a
complete and consistent group. These books are:
Alto P25, P32
Tenor P29, P33
Bass P30
Organ O14
The other books containing solo material, P21, P22, and P34, contain variants largely of a
rhythmic nature. The consistency of these variants in, for example, bars 184 and 186 indicate that
they are part of an earlier set. Whilst these variants are small, the alterations in the alto solo of
bars 28-56 are more significant, largely dealing with the number of syllables in ‘cried’, though
both versions set it as both a one syllable and a two syllable word. The variants in P34 are listed in
the textual commentary, and may provide expressive options for performers.
P22 and P24 have slightly different bass parts in the chorus, P24 matching the organ, P22 having
dissonances against it that are matched in P30. As P22 and P24 appear to be paired books (see
sources introduction), with the chorus copy P24 complementing the solo copy P22, it may be that
this effect is intentional. The part contained in P22 therefore is retained in small notes, and
conductors can decide whether to include both parts or not.
5.6.5.3 Organ part
The two Organ Symphonies starting in bars 26 and 57 are simply indicated as ‘Organ sy:’ in the
score, with no notes written out. This would imply that the organist is to improvise a solo
interlude at that point. Some parts have two bars rest specified for the first solo. The position of
the second solo within verse sections (the lengths of verses are not specified in the partbooks)
means that a similar clue cannot be found here. The solutions provided in this edition are purely
editorial, and the intended to be as simple a possibility as could be found. Performers should feel
free to make these moments their own. Other indications in the organ book of where the organ is
playing alone have been removed, unless they contain additional information, such the dynamic
marking in the bass verse. Unlike when accompanying voices, when the organ is alone all the
material should be included, and a change of registration may be considered. The organ at
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Chapter 5
Wimborne at the time contained both a five rank mounted cornet and separate mutations, so this
tonal palette may be appropriate for the solo sections. 168
Bar Part Comment
8 T P22 ‘O Lord’
17 A P25 1st note F
23 A P34 last note erased
31 A P34 no ‘Lord’
33 A P34 4th note on dc q ‘cry’d un-‘
36 A P34 4th note on dc q ‘cry’d un-‘
40 A P34 3rd-5th notes dq sq sq (sic). Perhaps implying quicker notes than sqs
41 A P34 beaming implies two notes on ‘-led’
45 A P34 dc q ‘cry’d un-‘.
45-56 AO P34 and O14 have an unmarked one minim bar here. P25 does not, and
continues half a bar out from the other sources.
50, 54 A P34 beaming implies two notes on ‘-led’
56 A P25 4th note sb
87 B P22 m dcr q
159 B P22 last note cr
176 T P29, P33 2nd and 3rd note no #
183 B P22 starts q q cr, f e f
184 ATB P21, P22, P34 2nd beat q q
186 ATB P21, P22, P34 cr q q sb
168
Betty Matthews, The Organs and Organists of Wimborne Minster, (Wimborne, 2002), 9
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Chapter 5
189 TB P21, P22 cr cr cr cr
190 B P22 dcr q cr cr
193 T P21 3rd note, cr cr ‘in his’
194-195 T P31 note 3 of 192 and 193 blank of notes, text present
197 T P13 dsb, no rest
206-208 B P24 has the reading in small notes
210-212 B P24 has the reading in small notes
210-212 T P13 corrections in source
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Chapter 5
5.6.6 The Lord is King
This is an unusual anthem, in that the body of the work is an extended alto solo. Appended to this
is a Gloria Patri that is one of the forms shared with the setting of the Canticles in A. For more
information on this, see the introductions to the settings in A and the discussion of the early
versions. The nature of the piece, combined with the prominence of alto solos elsewhere in
Combes’ output, suggests an excellent countertenor was on hand. Perhaps this was Roger Willis, a
member of the choir for 33 of his 40 years of life, and a member of a longstanding Minster choir
dynasty. This piece, along with all of Combes’ anthems and most of his service music, is preserved
in a partbook bearing his name – P34.
5.6.6.1 Text
Psalm 97 verses 1, 6, 8, and a doxology, in the Coverdale translation. The Gloria Patri has an extra
‘and’, which is common in the Wimborne compositions, also being seen in the works of Combes’
predecessor, George Day.
Alto verse
1 The Lord is King, the earth may be glad thereof: yea, the multitude of the isles may be
glad thereof
6 The heavn’s have declared his righteousness: and all the people have seen his glory.
8 Sion heard of it, and rejoiced: and the daughters of Judah were glad, because of thy
judgements, O Lord.
Chorus
Glory be to the Father, and to the Son: and to the Holy Ghost.
As it was in the beginning, and is now, and ever shall be: world without end. Amen.
5.6.6.2 Sources
Alto P25 (p54), P32 (p17-21), P34 (f30v-32v)
Tenor P29 (p37), P33 (p24)
Bass P30 (p41)
Organ O14 (p184-202)
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Chapter 5
It comes to us exclusively in the late anthem set, apart from one other copy in P34. Only P32 and
P34 present the full anthem, the other copies (including the alto book P25) only having the Gloria.
It is to be expected that personal interpretation will play a large part in the performance of a work
with extended and complex solos. This can be seen in the alternative readings of P32 and P34,
where a number of differences in word setting and rhythm are found, such as a move from
straight to dotted rhythms in bars 16 and 18. The organ part in O14 contains the solo line, with
full text, and this agrees in detail with P32, so this is the principal reading adopted here. One
unusual variant, however, is that the anthem is presented in B flat in P34. Curiously, the Gloria is
written out in A major. Might this be related to a repitching of the organ in 1764, and might there
have been an organ part at matching pitch?
5.6.6.3 Clef
Due to the tessitura of the solo line, it is here presented in an octave-transposed treble clef, to
avoid undue leger lines. This is not to imply that the soloist should in fact be a tenor – the
partbooks clearly indicate that it is intended for an alto. However, performers should consider
carefully the type of voice suited to this piece.
5.6.6.4 Repeats
This piece features a number of distinctive repeats at end of sections. In P34 one of these is
indicated by repeat marks, whilst the rest are written out. They are fully notated in P32 and O14.
5.6.6.5 Slurring
P34 has extensive though inconsistent slurring to indicate underlay. P25 does not have slurs on
longer lines. In keeping with the rest of the edition I have used slurs to clarify underlay, but
omitted them on longer melismas. Slurs in the organ part are as in the source.
5.6.6.6 Organ part
There are several markings of ‘Loud Organ’ and pia:, as well as indications of ‘swell’ and
‘diapasons’. As the source is likely to have been copied after 1769, these markings relate to the
increased resources of the 1764 instrument. They have been preserved here as they appear. In
the opening section, a change to ‘soft organ’ (choir) should be assumed on each vocal entry.
Unusually for these sources, the right hand of the organ part is presented in the treble clef,
sounding an octave up from the solo line. As discussed in the Performance Practice section, it may
be felt more appropriate in this context to provide a continuo-style accompaniment rather than
doubling the vocal line.
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Chapter 5
There are a number of irregularly placed figures in the organ part, in bars 19-20 and 60-61, that
lead to ambiguities of harmony. See examples below. The question is the extent to which the
harmony should be considered a sequence. In bar 20 I have presented a literal reading of the
figures, which breaks the sequence in the second half of the bar to give a dominant for a full
minim. However, this is not necessarily the most elegant way of harmonising this passage. In the
second difficult passage the 6 in bar 61 makes more sense if sharpened. The meaning here is
slightly obscured by figures being inconsistently written in, or not, when implied by the treble
voice. A couple of other apparent errors are dealt with in the textual commentary. I have
presented the figures as closely as possible to the manuscript, but performers should feel free to
find their own way with the harmony.
In the commentary pitches for P34 are given as if transposed to A major, not in the notated B flat.
Bar Part Comment
7 O Figured bass - 4 on 4th note (a), and 3 on 5th note (e) do not make sense
12 A P34 start appoggiatura a
16 A P34 2nd beat all semiquavers
18 A P34 1st beat all semiquavers
19-26 O O14 Placement of figures ambiguous – see introduction
23 (+28) A P34 notes 5 – 6 q q, e’ d#’
23 A P34 repeat indicator back to end of b18 instead of written out
35 A P34 notes 7 – 8 q q
40 A P34 notes 1 – 3 q sq sq
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Chapter 5
52 A P34 notes 5 – 7 q cr, c’ a
62 A P34 q
63 – 66 A P34 appoggiaturas absent
73-75 A P34 appoggiaturas absent
84 A P34 note 6 cr
92 A P34 e’
O O14 4 3# figures on final beat do not fit harmony
96 A P34 note 5 cr
98 O O14 4th-7th notes notated dcr sq sq sq
102 A P34 sq throughout
104 A P34 notes 5 – 8 sq sq sq sq
104 O O14 has B on note 7, but the # figure implies a G
105 A P34 notes 2 – 5 sq sq sq sq
105 O O14 7th note B. G# makes more sense with the figure and the next note.
106 A P34 note 3 m
108 O O14 5th note A
110 O + A P32 and O14 do not have ‘Slow’
118 A P34 notes 5 – 7 m c’
124 A P34 notes 5 – 7 m c’
142 O Second figure corrected from 723
150 A P24 m, m-rest, m
151 O O14 7 6 figures at start of bar do not make sense
160 A P24 notes 3 – 4 dm cr
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Chapter 5
165 A P24 notes 3 – 4 dm cr
172 O O14 2nd note c, with 6 figure. Altered to match bass. See also Jubilate in A,
where O22 has A in equivalent position, with (erroneous, in this case) 6 figure.
183 O Figure corrected from 6/4
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Chapter 5
5.7 Services
George Combes has left us extensive service music in the Wimborne partbooks, with two unified
settings of the ordinary text for a full day, in A major and E major, a more disparate set in D major,
and other items of communion music. These provide music for the three services celebrated
regularly at the Minster, as follows.
Matins At this period, this was the main morning service of the Anglican church.
Combes set the canticles Te Deum and Jubilate three times, as well as a setting of an alternative
pairing, Te Deum and Benedictus.
Communion Following Matins, a shortened version of the Eucharist was celebrated, known
as Ante-communion, which would not include consecration. The Combes settings generally
include a version of the Sanctus, and the Responses to the Commandments, though he did also
set the Nicene Creed. This is discussed in more detail below.
Evensong The evening service of the church. Of Combes’s three extant settings for this
service, only one is of the Magnificat and Nunc Dimittis, the most commonly used texts. The other
two are of the alternative canticles Cantate Domino and Deus Misereatur.
The music for communion is of a very functional type, with simple, syllabic settings of the short
texts. It is in the office services, Matins and Evensong, that Combes was able to explore a wider
range of musical style.
The full day of music in A major is the grandest and most extensive of Combes’s settings, and also
displays the greatest unity. In terms of scoring, the resources of the Minster are used to their
fullest, with verse sections for split trebles and basses, and altos in one version, and for groups on
both sides of the choir. That the demands of this music were occasionally hard to meet is
indicated by the presence of some verse sections in the books of different parts. The organ also
has a prominent role, including a solo passage in the Cantate Domino.
There is also a sense of unity to the set, with variations of the same Gloria Patri used at the end of
the three relevant canticles. This also draws in the extended solo anthem The Lord is King, whose
only choral input is another version of the same doxology setting.
The E major setting, again of a complete day of services, is largely in the ‘full’ style, with only
occasional use of reduced forces and largely chordal writing. Later markings indicate that it would
have been performed with alternating sides of the choir, Decani and Cantoris, singing. It alone
contains the Magnificat and Nunc Dimittis, now thought of as the ‘standard’ set of evening
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canticles. The other settings use the Cantate Domino and Deus Misereatur, which formed a higher
proportion of settings in the eighteenth century than later.
Only the Matins and Communion portions of the D major setting come to us complete. We have
partial sources of the Cantate Domino and Deus Misereatur, as well as a Benedictus and
fragmentary Te Deum. Their relationship with the other settings is discussed in the Incomplete
Works section. This setting lies between the two others in terms of variety of voicing, with a
number of lower voice verses, though not the wide range of textures explored in the A major
settings, and a greater use of imitative passages.
There are other settings of the Communion texts, including a Nicene Creed, that are not
complete, and therefore presented with the Incomplete Works. Only the Sanctus in F, written to
complete Gibbons’s Short Service, and Sanctus in G which accompanies settings by Aldrich, have
an organ part that allows confident reconstruction.
Several pieces have undergone significant development over time, with early versions appearing
in the manuscripts, sometimes alongside later versions, and sometimes in fragments indicating
their falling into disuse. These are discussed in the Incomplete Works section.
5.7.1 Sanctus
A notable feature of the Wimborne books in that the Sanctus is very often included, particularly in
later books. Sanctus settings often appear attached to full days of music by other composers such
as Rogers, Aldrich and Gibbons, whose settings do not include that text. The words are not
precisely those of the Eucharistic Sanctus of the Book of Common Prayer. Rather, they are an
amalgam of that text with a similar passage from the Te Deum. This changes ‘heaven and earth
are full of thy glory’ to ‘heaven and earth are full of the majesty of thy glory’. The ordering of
these movements is noteworthy.
The situation across the partbooks is inevitably complex, with several anomalies and an extremely
diverse approach to layout and ordering complicating the situation further. It is clearer to see this
issue through the prism of the organ books. Five contain service music, and neatly demonstrate
the changes over time. P10 is the earliest, and only contains Kyrie settings, most in the opening
section of the reverse of the book, interleaved between organ music, implying their use close to
each other in the liturgy. 169 O14, O21 and O22 represent the period around Combes’s time. These
169
James Clifford, in Divine Services and Anthems (London, 1663), gives three locations for organ
voluntaries, after the Psalms at Morning and Evening Prayer, and after the litany at the end of Matins,
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exclusively have pairs of Sanctus-Kyrie, with the Sanctus provided by Combes when not written by
the composer of the Kyrie. O13 is later, in use well into the nineteenth century. It has Kyrie-
Sanctus pairs, each piece written by the same composer. A similar trend can be seen in the vocal
partbooks.
This may demonstrate a shift in liturgical practice, from ante-communion alone in the last portion
of the 17th century, to full communion services in the 19th. However, this leaves the anomalous
ordering of the movements in the mid-18th century. That it was an important part of the liturgy of
Wimborne to have this movement sung, is shown by the consistent ‘completion’ of services by
Combes. The function and placement of the music remains unclear, however. It could perhaps
have been sung at the transition between Matins and Ante-communion, covering whatever
logistical actions were needed at that point, and replacing the organ voluntary. 170
It is interesting to look at settings in an influential publication of the time, held in the Chained
Library, Boyce’s Cathedral Music. 171 In Volume 1 of 1760 only one setting contains the Sanctus,
that of Thomas Tallis. It is placed between the Nicene Creed and Gloria in Excelsis, in other words,
in the order given in the Book of Common Prayer. It has the standard text given in that book. The
other Communion settings in that book omit the movement, and contain settings of the Kyrie and
Nicene Creed.
At the end of Volume 3 of Cathedral Music from 1773 are four freestanding settings of the
Sanctus, by Gibbons, Child, Rogers and Creyghton. The first three contain the text with ‘the
majesty of’, but not the last one. It is significant that these are contained in a book otherwise
devoted to anthems.
The Gibbons Sanctus is based on the Te Deum of the Short Service, and Tudor Church Music
IV discusses the sources: ‘The Sanctus commonly attached to the short service has no MS.
authority before the time of the Restoration. It is first found in the Windsor MSS in the
handwriting of Dr Will Child, as an extra slip bound up with the rest of the service. There are
copies of it in short score in Ch Ch Ox MS 1225, Ely Cath. MS 23, and Tenbury, all of late 17th or
before the ‘second service’ (ante-communion). In the latter case, the voluntary is immediately followed by
the Responses to the Commandments, or Kyrie.
170
This is the solution to the feature given in Christopher Dearnley, English Church Music 1650 – 1750,
(London, Barrie and Jenkins, 1970) 99. He notes the evolution from organ voluntary to Sanctus, but does
not give details of the time-frame for this occurring.
171
William Boyce, Cathedral Music : Being a Collection in Score of the Most Valuable and Useful
Compositions for That Service, 3 vols (London: Printed for the editor, 1760-1773).
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early 18th century date. As it is for the most part merely an extract from the Te Deum and all the
texts are faulty, the editors feel justified in rejecting it.’ 172
Further examples of this feature can be found in Novello publications of the nineteenth century.
In the volumes Cathedral Choir Book and Sanctus and Kyrie Eleeson(sic) set to music by various
composers (held in the Chained Library, Q24, Q25 and Q28) there is always the sequence Sanctus-
Kyrie. Of these, settings by Travers, Creyghton, Aldrich and Wesley set the standard, BCP text.
Those by Cook, Bryan, Croft, Nares, Novello and Russell use the adapted text including ‘the
majesty of’. These volumes are undated, but they were published under the name J Alfred
Novello, which places them between 1829 and 1861.
The full liturgical settings by Gibbons and Rogers transmitted in the manuscripts do not contain
Sanctus setting by their composers found in Cathedral Music. Rather, they have been supplied by
George Combes, which may well be due to copying prior to 1773. Was Wimborne at the front of a
liturgical trend?
172
Percy Buck, Tudor Church Music, vol. 4 (London, 1925).
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5.7.2 Service texts
The texts for the liturgical pieces are taken from the 1662 Book of Common Prayer. Spelling varies
in the sources, and punctuation is generally lacking. In the edition these are presented to conform
with the 1662 BCP, except in instances where musical considerations require variants to be
retained. These are discussed below and in individual commentaries.
The Sanctus text is an amalgam from the Te Deum and Communion Service; more detail is given
above. In all appearances the ‘s’ is omitted on ‘hosts’, though it has been pencilled in in places. In
the edition it is presented in square brackets.
Te Deum
We praise thee, O God; we acknowledge thee to be the Lord.
All the earth doth worship thee, the Father everlasting.
To thee all Angels cry aloud, the Heavens and all the Powers therein.
To thee Cherubim and Seraphim continually do cry,
Holy, holy, holy, Lord God of Sabaoth;
Heaven and earth are full of the majesty of thy glory.
The glorious company of the Apostles praise thee.
The goodly fellowship of the Prophets praise thee.
The noble army of Martyrs praise thee.
The holy Church throughout all the world doth acknowledge thee;
the Father of an infinite Majesty;
thine honorable, true, and only Son;
also the Holy Ghost the Comforter.
Thou art the King of glory, O Christ.
Thou art the everlasting Son of the Father.
When thou tookest upon thee to deliver man, thou didst not abhor the Virgin’s womb.
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When thou hadst overcome the sharpness of death, thou didst open the kingdom of heaven to all
believers.
Thou sittest at the right hand of God, in the Glory of the Father.
We believe that thou shalt come to be our judge.
We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood.
Make them to be numbered with thy saints, in glory everlasting.
O Lord, save the people, and bless thine heritage.
Govern them, and lift them up for ever.
Day by day we magnify thee;
and we worship thy name, ever world without end.
Vouchsafe, O Lord, to keep us this day without sin.
O Lord, have mercy upon us, have mercy upon us.
O Lord, let thy mercy lighten upon us, as our trust is in thee.
O Lord, in thee have I trusted: let me never be confounded.
Jubilate – Psalm 100
1. O be joyful in the Lord all ye lands: serve the Lord with gladness and come before his
presence with a song.
2. Be ye sure that the Lord he is God, it is he that hath made us and not we ourselves: * we
are his people and the sheep of his pasture.
3. O go your way into his gates with thanksgiving and into his courts with praise: be thankful
unto him and speak good of his Name.
4. For the Lord is gracious, his mercy is everlasting: and his truth endureth from generation
to generation.
Sanctus
Holy, holy, holy, Lord God of host[s],
heaven and earth are full of the majesty of thy glory:
Glory be to thee, O Lord most high.
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Kyrie
Lord, have mercy upon us, and incline our hearts to keep this law.
Lord, have mercy upon us, and write all these thy laws in our hearts, we beseech thee.
Magnificat
My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour.
For he hath regarded: the lowliness of his handmaiden.
For behold, from henceforth: all generations shall call me blessed.
For he that is mighty hath magnified me: and holy is his Name.
And his mercy is on them that fear him: throughout all generations.
He hath showed strength with his arm: he hath scattered the proud in the imagination of their
hearts.
He hath put down the mighty from their seat: and hath exalted the humble and meek.
He hath filled the hungry with good things: and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel: as he promised to our forefathers,
Abraham and his seed, for ever.
Nunc Dimittis
LORD, now lettest thou thy servant depart in peace: according to thy word.
For mine eyes have seen thy salvation,
Which thou hast prepared: before the face of all people;
To be a light to lighten the Gentiles: and to be the glory of thy people Israel.
Cantate Domino – Psalm 98
1. O sing unto the Lord a new song: for he hath done marvellous things.
2. With his own right hand, and with his holy arm: hath he gotten himself the victory.
3. The Lord declared his salvation: his righteousness hath he openly shewed in the sight of
the heathen.
4. He hath remembered his mercy and truth toward the house of Israel: and all the ends of
the world have seen the salvation of our God.
5. Shew yourselves joyful unto the Lord, all ye lands: sing, rejoice, and give thanks.
6. Praise the Lord upon the harp: sing to the harp with a psalm of thanksgiving.
7. With trumpets also and shawms: O shew yourselves joyful before the Lord the King.
8. Let the sea make a noise, and all that therein is: the round world, and they that dwell
therein.
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9. Let the floods clap their hands, and let the hills be joyful together before the Lord: for he
is come to judge the earth.
10. With righteousness shall he judge the world: and the people with equity.
Deus Misereatur – Psalm 67
1. GOD be merciful unto us, and bless us: and shew us the light of his countenance, and be
merciful unto us:
2. That thy way may be known upon earth: thy saving health among all nations.
3. Let the people praise thee, O God: yea, let all the people praise thee.
4. O let the nations rejoice and be glad: for thou shalt judge the folk righteously, and govern
the nations upon earth.
5. Let the people praise thee, O God: let all the people praise thee.
6. Then shall the earth bring forth her increase: and God, even our own God, shall give us his
blessing.
7. God shall bless us: and all the ends of the world shall fear him.
Doxology for Psalms and Canticles
Glory be to the Father, and to the Son: and to the Holy Ghost;
As it was in the beginning, is now, and ever shall be: world without end. Amen.
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5.7.3 Te Deum and Jubilate in A
5.7.3.1 Sources
Treble Reconstructed from O22
Alto P12 (f75r-76r) P23 (p74-79), P26 (p83b-90),
Tenor P13 (f22r-23r), P21 (f13r-14v), P27 (p86-92), P28 (p116-124)
Bass P22 (f31r-33v), P24 (f29r-31v)
Organ O22 (p215-236)
P12 is incomplete, finishing at b263 of the Te Deum, and missing the Jubilate.
Four books can be identified as being part of the Late Services Set, and provide us with the inner
parts. These are:
Alto P23, P26
Tenor P27, P28
These are associated with the organ book O22, and as this gives a reading of the upper and lower
parts, we effectively have a complete set. The rest of the sources appear to be earlier, and have a
number of variants listed below
5.7.3.2 Verses
There are a number of sections of the Te Deum missing in various partbooks, as follows:
Heav’n and Earth, bars 59-89 P13, P21 P12 tenor line in place of alto
The Goodly, bars 90-97 P12, P21, P22, P24
When thou hads’t, bars 192-210 P22
Make Them, bars 244-265 P13, P21 P12 tenor line in place of alto
These passages are indicated simply by the word ‘vers’.
Allocations of Decani and Cantoris are given in P22, and these have been retained here. In P24
second bass is specified at bars 97 and 165.
In addition, P21 (tenor) has the first bass part of bars 97 - 119 written out after the end of the
Jubilate, implying perhaps that a tenor had to sing it in on occasion. However, the repeat signs on
the final line are missing. There is no corresponding copy of the other section with two bass parts,
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bars 165 – 191, which implies that this addition may not be due to the absence of one bass, but
some other musical consideration, such as the vocal range of the upper part.
P12, an alto partbook, contains the tenor verses at bars 59-74 and 244-265, the latter with a
significant variant. Whereas the tenor part generally remains within the range E-E, with only
occasional F#s, these passages cover the range A#-A, similar to the alto part elsewhere. These
passages are missing from tenor books P13 and P21, which may have been used with P12. The
alternative version of bars 253-256 is provided from the alto partbook. The later change may have
been to allow for the difficulty of a tenor sustaining the top G. Performers should decide on
whether to use an alto or tenor for these passages.
Bars 90 - 96 are indicated as Chorus in all books where the music appears. The lack of this passage
in P12 and P21 could imply that it was at some point a Decani verse. More significantly, this
passage is not written out in the two bass books. However, the bass line in the organ part is
independent of the lowest other part, unlike the practice in all other places. Therefore a
conjectural bass line has been added, and this allocated to chorus. This gives a regular alternation
of verse and chorus sections.
5.7.3.3 Text
There are a number of variants in the text. These have been retained where necessary as
alteration would affect the musical intention.
Te Deum - All copies have ‘inheritage’ in place of 'heritage' in bars 271-2, possibly a confusion
with ‘inheritance’. Elsewhere in the partbooks the same text has been used, sometimes corrected
with alterations to the rhythm visible, as well as the standard version. In bar 63, 'thy majesty' is
used in place of 'the majesty'. In bars 250 - 261 'in the glory’ is used in place of 'in glory'.
Jubilate - bar 76 'and his mercy' is used in place of 'his mercy'. Bar 109 'and is now’ is used in
place of 'is now'.
5.7.3.4.1 Te Deum
Bar Part Comment
27-28 AB The chorus 'Cry aloud' is missing in P22, P23, P24, P26. The bass part is
therefore conjectural.
35 S2/O O22 d’ g f’ e, presumably in error
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36 O LH sb
47 T P13 1st note c#
48 A/T Underlay presented is supported by P12, P13, P21, P22, P24, but contradicted
by P23, P26, P28 which give a four-syllable version (consistent with bb42-46) with a slur on the
first two notes. O22 and P27 have no slurring
59-60 A/B P12, P22 P24, mr sb / mr sb
59-74 A P12 As tenor part
72 A/T P12 2nd & 3rd notes e#’ e#’
77 S2/O O22 RH lower part 4th note g#’. Editorially changed to F# to match bar 79 and
harmony of figured bass
80 S2/O O22 c#’ d’ e’. Changed by a third on the assumption of a mistake.
90-96 B The bass part is conjectural - see introduction
91 T P13 4th – 5th notes cr cr
96 T P13 m m mr
114 B Repeat of bars 109-114 indicated by repeat sign in P22 and

P24, absent in O22
130 B P24 A A. The same mistake has been corrected in P22
135 B P24 A A. In P22 to As have been 'corrected' to F#s
141 T P21 # missing on first note
146 T All sources have c’ 2nd note.
148 S sb to match other voices, rather than m implied in organ part
161 A P12 3rd note f#’
186 Repeat of 181 - 186 indicated by repeat signs in P22, P24.

Written out in O22
192 A P23 no key signature change
203 A P12 2nd note missing
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Chapter 5
211 A P23 no key signature change
221-222 A P12 Fa-ther on two minims in b221, b222 blank
228 A P12 m m
239-240 T P27 d’
244-265 A P12 as tenor
249 A P23 key signature now correct
252-258 T Alternative version from P12, intended to be sung by an alto
264 T P12 m cr cr
280 A P23, P26 m m, tied in P26
298 T/O P27, P28, O22 c’ c’ c’. The version in P13, P21 avoids
consecutive 5ths and is given here
314 B P22, P24 A
331 T P13 1st note a
5.7.3.4.2 Jubilate
17 B P22, P24 4th note A
17 T P27, P28 4th note # missing
23 B P22, P24 sb
46 O O22 repeat of bb 41-46 in 46-51 shown with repeat symbol
72 T P13 dm c corrected to m m
73 A P26 e’
91-93 ATB There are discrepancies in the underlay between the sources.
The solution given is taken from the bass books P22 and P24
91, 93 A P23 give ge-ne-ra on beats 1, 4, 1 by syllable placement, P26 ambiguous about
the 'ne'.
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92 T P13 ge-ne-ra on beats 1-2-3; P21 underlay unclear, but slurring also implies 'ra'
on third beat. P 27 and P 28 give ge-ne-ra on beats 1, 4, 1 by syllable placement
94 T P13 4th note g#
85 T P13 sb g#
99 T P13, P21 dcr q m
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Chapter 5
5.7.4 Sanctus and Kyrie in A
5.7.4.1 Sources
Alto P23 (p80), P26 (p91), P34 (f2r)
Tenor P13 (f24v), P21 (f5v), P27 (p92-93), P28 (p125)
Bass P22 (f35v), P24 (f32v)
Organ O22 (p237-238)
In P34 the music is crossed out, but legible.
Four books can be identified as being part of the late set of services, and provide us with the inner
parts. These are:
Alto P23, P26
Tenor P27, P28
parts we effectively have a complete set. The rest of the sources appear to be earlier, with only
some rhythmic variants in the tenor sources.
In the later sources the pieces appear between the settings in A of the Morning and Evening
canticles. They are more widespread in the earlier sources.
5.7.4.2 Text
‘In thy majesty’ is used in place of ‘in the majesty’ seen in other settings. This matches with the Te
Deum setting in A.
5.7.4.3.1 Sanctus
Bar Part Comment
3 T P13, P21 m dcr q
5 T P13, P21 m (God) dcr q (of)
9 TO O22, P28 no repeat. P27 has end repeat mark missing
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12 T P13, P21 m dcr q
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5.7.5 Cantate Domino and Deus Misereatur in A
An earlier, related setting appears in four sources, and is discussed in the Incomplete Works
section of this edition. This commentary only deals with the later setting.
5.7.5.1 Sources
Alto P23 (p81-85), P26 (p92-98), P34 (f17r-19r)
Tenor P13 (f29v-31v), P21 (f64v-66v), P27 (p94-99), P28 (p126-133)
Bass P22 (f72v-74v), P24 (p75v-77v)
Organ O22 (p239-252)
Four books can be identified as being part of the late set of services, and provide us with the inner
parts. These are:
Alto P23, P26
Tenor P27, P28
parts we effectively have a complete set. The rest of the sources appear to be earlier, but have
few significant variants with the later copies. The only problematic one is in the bass books, at bar
119. Two notes are omitted, along with a textual repetition, putting the part a bar out from that
point on. This is also not compatible with the early version of the piece (see Incomplete Works),
and perhaps represents an early draft of the later version.
There are some discrepancies between the bass part and the left hand of the organ, which is
more significant as we do not have a bass book from the late set. However, these are exclusively
at cadences and are compatible, and therefore can be considered an idiomatic issue, rather than
one related to early and late versions. They are retained in the edited text.
5.7.5.2 Text
All parts split the word ‘rejoice’ into three syllables (re-joi-ce) on melismas, though it is also set as
a two syllable word in shorter phrases. It would seem most likely that this is simply to indicate the
length of the melisma, so here the word is rationalised to two syllables with a line to indicate
underlay.
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5.7.5.3 Verse allocations
Verse sections appear in all partbooks apart from the section of Deus Misereatur ‘that thy way
may be known’, starting at bar 14, which is missing from P23.
The section ‘God shall bless us’, bars 77 – 99 is problematic. It appears in the tenor and bass
books, but not the alto ones. The organ part often has two upper voices, however, and the vocal
harmony is incomplete as it stands. taking a lead from the Te Deum in A, this realisation gives two
treble parts, although the second could be sung by an alto. Unlike elsewhere in the treble
reconstruction, the second part is conjectural for much of its length.
P24 is distinctive in its untidy note placement. Only moments where the note is clearly placed and
different to the text of the edition are listed here.
Accidentals in P22 and P24 are ambiguous, with little definition between sharp and natural. They
have only been noted where unusually missing or present.
5.7.5.4.1 Cantate Domino
Bar Part Comment
11 O 4th note figure 6
16 A P34 e’ e’ f’
41 A P34 cr cr sb, c’ b a
60 T P13 4th note a#
61-63 O O22 error in RH – 2nd note of 61 onwards f e / d e d e f e / d e d c
63 A P23, P26, P34 e’ c’. The reading from the organ part preserves the 3rds with
the bass.
68 A P23, P26, P34 last note a. The organ reading provides a more logical line with
rising phrase end.
72 AT P13, P21, P34 sb
77 B P24 1st note a with natural sign
81 B P24 1st note a
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Chapter 5
104-105 O O22 m m-rest, then blank
106 B P24 1st note no natural
107-108 T p28 m m m / sb m, f’ d’ c’ / c’ c’
119 B P22, P24 last note of 119 and first of 120 omitted, along with repetition of ‘and
all’.
121-122 A P34 has text ‘dwell therein’
125 A P23, P26 1st note tied f’
128-129` T P13 last note b with correction to c’, P21 signs of correction. A repetition of the
b at the end of this bar avoids the glaring octaves with the melody, but the option presented here
was definitively chosen in the later sources.
135 O O33 has g g, with a # figure
169-170 T P13, P21, P27 no tie across barline
5.7.5.4.2 Deus Misereatur
41 B P22 dsb
45 B P22 4th note f
46 AB P22, P24, P34 dsb
50 B P22 4th note f
47-51 B P24 not written out, but indicated by repeat marks
59 A T B P26, P13, P21, P24 sb, m r
62 B P24 3rd & 4th notes a A, slurred with ‘in-‘ on both notes
63 B P22 dsb
67 O 2nd figure #
76 A T B P34, P13, P21, P22 P24 sb m
77 T P13 dsb
88 T P13 2nd note dot missing
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91 B P24 dsb
119-120 T P13, P21, P27 no slur across barline
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Chapter 5
5.7.6 Te Deum and Jubilate in D
5.7.6.1 Sources
Treble P31 (f16r-17r) and reconstructed from O13 (p46-50), O22 (p129-143)
Alto P18 (f18v-20v), P23 (p26-30), P26 (p59-65), P34 (f5v-7v)
Tenor P13 (f42v-44v), P21 (f24v-26v), P27 (p62-67), P28 (p87-93)
Bass P22 (f78v-80v), P24 (f35v-37v)
Organ O13 (p46-50), O22 (p129-143)
This service is unusual in having both a treble partbook and two organ books. The treble part is
incomplete, starting at b209 of the Te Deum. Previous to that moment the part requires
reconstruction from the upper part of the organ book. In the Jubilate, folio 16v of P31 ends at bar
51, and folio 17r begins at bar 47. This possibly implies that they are sheets from two separate
copies compiled together. However, the top right hand corner of f17 is torn, so the original page
numbers are not available.
For more detail on this unusual book, see chapter 4. One of the organ books, O22, is associated
with the Late Services Set, and may have been copied by Richard Combes. It presents the familiar
pattern of the top and bottom voices in each texture, with some additional harmony; in this case
there is quite a lot of the inner parts. The other book is later, being inscribed ‘F.S. Blount’
(Organist at the Minster 1835-1863) and ‘1847’. Here the part is effectively a short score of the
entire texture.
Five books can be identified as being part of the late set of services, and provide us with three
parts. These are:
Treble P31
Alto P23, P26
Tenor P27, P28
parts we effectively have a complete set. The rest of the sources appear to be earlier, and share a
number of variants. The only comparison between the earlier reading of the bass books and the
later reading is through the organ parts. This is slightly problematic, in that the only differences
relate to octaves at cadences, and these variants could simply be due to a different approach to
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keyboard and vocal writing. This difference is not seen in other pieces where later bass sources
are available, however.
One set of variants concerns word setting. The older sources use the text from the 1559 prayer
book, starting with ‘We knowledge thee’. In the later sources the rhythm is adapted to the 1662
version ‘We acknowledge thee’. This is the only one of Combes’ settings with this anomaly.
Another attempt to improve word setting appears later, at bar 127, though when the offending
stress is repeated a few bars later it is ignored.
The significant musical variants concern the inner parts, particularly the tenor, and appear to be
attempts to improve part writing. Examples from the Te Deum include avoiding inverted chords
(b2), avoiding consecutives (bb 56-57), avoiding doubled leading note (b123), adding a third (b65).
The music is occasionally not improved according to the ‘rules’ – the changes in bars 85 and 88
lead to exposed octaves – but overall the writing is tightened up. Of interest are the 6/4 -5/3
cadences, which are sometimes altered (b124), and sometimes not (b17). Neither version
provides a third in the first chord, however.
The question must be considered of where these changes originated. As it seems likely that
Richard Combes copied the later sources, might he have ‘corrected’ his father’s harmony? It is
certainly possible. However, we have no compositions by Richard, which perhaps implies that his
musical interests did not lie in that direction, so it may well be that the alterations did come from
George.
In this edition I present the reading from the later sources, as I would suggest that these readings
are musically superior, and do not remove the intrinsic character of the piece.
5.7.6.2 Text
Earlier copies of the Te Deum begin with the 1558 version ‘We knowledge thee’.
In the Jubilate, verse 2 omits the word ‘he’ in the phrase ‘the Lord, he is God’. In verse 4 an ‘and’
is added before ‘his mercy’, but omitted before ‘his truth’.
5.7.6.3 Intonation
The opening phrase is given as it appears in O13. P28 has similar, but ending in two minims; it is
written in the bass clef, before the tenor C clef is written for the rest. In O22 is it given as a
monotone on a D, and it is absent elsewhere.
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Chapter 5
5.7.6.4 Barring
There is some irregular barring, largely in the earlier sources but also in P28. The overall metre is
clear, however, and has been regularised without further comment.
5.7.6.5 Organ part
The part presented here is as it appears in O13. Whilst this cannot be considered the closest to
the composer, it is clear and consistent. It provides a suitable accompaniment as it stands for
music of this style. Any small deviations that exist from the main set of parts (such as b36) are
altered, on the assumption that the intention is that voices and organ should match. These are
noted in the Textual Commentary. The organ part in O22 is in keeping with the rest of that book,
largely presenting the top and bottom vocal lines, with figures. The part presented here is
consistent with the notes and figures of that part, apart from deviations listed in the Textual
Commentary.
There are a number of instances at cadences where the bass part varies between the bass
partbooks and organ books. In O22, there is a frequent use of minims at a high then low octave in
place of a semibreve or repeated minims. As the bass books are from the early set and the organ
part from the later set, we cannot know for certain if these are changes intended to be followed
in the voice, or simply idiomatic organ writing. The use of a low E, below the standard vocal range,
in bar 32 would imply the latter. O13 largely agrees with the bass books, so this is the reading
followed here. Performers should feel free to make use of the octaves at their discretion. An
exception is at the very end of the Te Deum, bar 259, where the voices have octaves, so these
have been reflected in the organ part.
P24 is distinctive in its untidy note placement. Only moments where the note is clearly placed and
different to the text of the edition are listed here.
5.7.6.6.1 Te Deum
Bar Part Comment
1 ATB P13, P21, P22, P24, P34 sb – text is ‘We knowledge’
2 T P13, P21 1st note d
7 A P18, P34 2nd note f#
8 TO P13, P21 c c m, a b c’. Matched by inner voice of O22
178
Chapter 5
15 T P13, P21 3rd note a
16 O O22 LH m m, a A
26 B P24 2nd note f
26 O O13 LH 2nd note c’
32 O O22 m m, e E
36 O O13 LH upper voice g a
45 A P18, P34 m m, g’ f’
45 O O13 LH upper part dm cr
51-53 O O13 clearly sets ‘Sabaoth’ as a three syllable word
56-57 T P13, P21 b a a b d’
57 A P18, P23, P34 f’ d’
65 T P13, P21 e’
85 T P13, P21 e’
87 O O13 LH has a crotchet a added on the half bar
88 T P13, P21 e’
110 T P13, P21 cr b appoggiatura to 2nd note
119 T P21 m r, m
123 T P13, P21 2nd note c’
124-126 T P13, P21 m cr cr m m sb, a d’ d’ d’ e’ d’
125 O O22 LH a A
127 ATB P13, P21, P22, P23, P24, P34 sb. Text ‘when though took’st’
144 AO P26, O13 1st note e’. This has been altered and emphasised in P26
144 B P22, P24 dm cr, a a.
145 A P18, P26, P34 no appoggiatura
179
Chapter 5
177 A P18, P34 d’ c’
185 B P22, P24 1st note c
198 O O13 2nd note a. O13 and both bass books make the difference with b204
199 O O22 m m, a A
221 All ‘Slow’ only found in O22, P13, P18, P21, P22, P24, P34
228 T P27 no appoggiatura
236 O O22 m m b B
258-259 T P18, P21 d’ e’ d’, P28 d’ c’ a
244 O O13 sb f
254 O O13 4th note e. This solution to a problematic harmonic moment is not found
in any earlier sources.
258 O O13 LH sb A
259 O O13 sb
5.7.6.6.2 Jubilate
5 O O13 RH lower part 3rd note d’
12-13 O O22 LH b12 3rd note cr G, b13 sb A
13 O O13 RH upper part m m, f’ e’
22 T P13, P21 m cr cr, a g# g#
22 O O13 RH upper part m m, c’’ b’, LH upper part m cr cr a g# g#,
O22 only gives outer voices
25 A P23, P26 e’ f’
35 O O13 has the following, not supported by any other sources:
180
Chapter 5
36 T P27 dm cr
39 O O13 bass line sb a
49 A P18 no appoggiatura
52 A P18, P34 3rd – 4th notes cr cr, e’# e’#
52 O O13 RH upper part m m, a’ g#’, lower part m dcr q, f’ e#’ e#’
O22 RH upper part m dcr q, a’ g#’ f’, lower part m m f’ e#’
65 B P22, P24 3rd note f
75 B P24 the end of the line here is unclear, with a handwritten stave.
79 T P13, P21 2nd note e’
90 T P13, P21 m m b, d’ e’ d’
90 O O22 sb A
181
Chapter 5
5.7.7 Sanctus and Kyrie in D
5.7.7.1 Sources
The following sources have both the Sanctus and Kyrie:
Treble P31 (f17v)
Alto P18 (f22r), P23 (p33), P26 (p68), P34 (f8v)
Tenor P13 (f46r), P21 (f27v-28r), P27 (p70), P28 (p96)
Bass P22 (f81v-82r), P24 (f38v)
Organ O22 (p149-150)
In all instances these follow Combes’s setting of the Te Deum and Jubilate in D.
Additionally, the following sources have the Sanctus, followed by a Kyrie by Rogers, completing a
full day of music by the latter composer.
Treble P31 (p23)
Alto P23 (p19), P26 (p23)
Tenor P27 (p23), P28 (p64)
Organ O21 (p116), O22 (p39)
Further entries in the following sources have a different Sanctus, and a more intricate version of
the Kyrie. They have, however, been crossed out in both sources.
Alto P34 (f3r)
Tenor P21 (f2v)
These pieces are presented in the Incomplete Works section, and not considered further here.
This represents a broad chronological range of books. The books containing both the Sanctus and
Kyrie set as well as the completion of the Rogers service are all part of the Late Services set. The
two containing alternative versions are relatively early. It is notable that all the books in which
this service appear contain the basic set, alongside supplementary readings.
182
Chapter 5
5.7.7.2 Full/Piano indications
The organ part of the Kyrie, O22, contains indications of ‘Full’ and ‘Pia’ (abbreviation for piano).
The latter appears for the brief imitative section. It could be taken as an implication that voices
should be reduced here, or simply be an indication to the player that there are fewer parts at that
moment. The lack of any corresponding marking in the partbooks would imply the latter.
5.7.7.3.1 Sanctus
Bar Part Comment
1-2 A P18 first three notes erased
4 a P18 2nd note e’
6 T P27 (1st entry) 3rd note 3’
8 TO O21, P28 (both entries) No repeat markings
12 A P26 (2nd entry), P34 2nd note e’
31 SO P31, O22 (1st entry) breve. O21 RH m
5.7.7.3.2 Kyrie
14 S A T P23, P26, P27, P28, P31, breve
22 T P13 1st note a
25 S A T P23, P26, P27, P28, P31, breve
183
Chapter 5
5.7.8 Te Deum and Jubilate in E
5.7.8.1 Sources
Treble P31 (f18r-f19r and f20v) and reconstructed from O21 and O22
Alto P23 (p37-42), P26 (p69-74),
Tenor P27 (p71-77), P28 (p1-7)
Bass Reconstructed from O21 and O22
Organ O21 (inverted p133-145), O22 (p151-161)
Two books are incomplete. P31 breaks off after b242 of the Te Deum where there is a missing
sheet in the rebinding. The top line of f20v is the last 7 bars of the Jubilate. O21 ends after bar 27
of the Jubilate, strangely after the first line of the page. It is then followed by communion music
by J W Blount.
This comes to us exclusively from the Late Services Set and, unusually, two associated organ
books. There is therefore a high degree of uniformity across the sources, with a few apparent
errors in P23.
5.7.8.2 Text
In the gloria of the Jubilate there is an extra ‘and’ before ‘is now’, retained to maintain the musical
rhythm.
5.7.8.3 Intonation
The opening words of the Te Deum appear as presented here in P23. They are given as a
monotone on tenor e in both organ books, and are absent elsewhere.
5.7.8.4 Reconstructed parts
The bass part and the latter section of the treble part must be reconstructed from the organ
books. This is generally a straightforward matter, with the organ part following the outer vocal
lines, equating to treble and bass apart from some contrapuntal moments. Some note repetitions
have been added for text underlay, particularly in the bass, following the lead of the extant vocal
books. Where organ octave minims in the bass at cadences drop below the standard vocal range
they have been have been replaced with a semibreve in line with the style seen elsewhere.
184
Chapter 5
5.7.8.5 Division of voices
Markings of Dec[ani] and Can[toris] and Full are present in all the vocal books apart from P31,
though they have been added in pencil in P23. They are absent in the organ books. The Verse and
Chorus markings in the Te Deum are found in all books, only combined with Dec in P26 and P28.
Given the size of the performing forces at the Minster in Combes’s time (one voice per part per
side apart from trebles), there is no distinction between sides and verse. Therefore it could be
supposed that the original intention was for the whole service to be sung full apart from the verse
section, and that the division of phrases into sides was a later addition. It is in keeping with the
style of comparable services, however, and is a practical way to perform the piece, so the
indications have been retained here.
5.7.8.6 Deleted passages
There are three phrases that have been deleted from the Te Deum in pencil in vocal books. These
all feature repetition of words, some also of notes. These are indicated in the score by lines above
the stave, to allow performers the option of the terser version.
5.7.8.7 Figured Bass
Figures are taken from O21 where available, which are slightly more comprehensive and clear.
Only significant variants are noted below.
5.7.8.8.1 Te Deum
Bar Part Comment
31 O O22 figures are 3/6, 4/6
42 - 43 A P23, P26 ‘Saboath’ (sic) divided into three syllables
55 O O21 and O22 have 6/4
73 Tr P31 note 1 no #
95 O O22 2nd note figure 6
105 Tr P31 no fermata
116 Tr T O O22, P28, P31 no fermata
185
Chapter 5
117 ‘Slow’ only found in P23, P26, P27, and in pencil in O22
119 O O22 br
124 A P23, P26 1st note sb d’. Initial e’ and accidentals added in pencil
128-132 AT O22, P26, P28 repeated phrase deleted in pencil
136 A 4th note no #
137 Tr T O O22, P28, P31 no appoggiatura
137 T P27, P28 2nd note no #
150-161 O O21, O22 D naturals missing through this passage, some added later in O22 in
b156-160
159 A P23 no natural
172 O O21 LH cr cr
173 O O21 no # figure
188 O O21, O22 have m cr cr apart from O21 LH. O21 has the text ‘inheritage’, giving
this rhythm, though all the vocal partbooks have the correct ‘heritage’.
191 – 200 O A flap of paper containing bars 197-203, otherwise missing, stuck in, obscuring
bars 191-193. This was presumably held loose in the book when it was in use.
234 O O21 1st note sbr
241 O O22 2nd note C
250-252 P23, P26, P27, P28 b253 note 3 – b 255 note 2 deleted in pencil
257-259 P23, P26, P27, P28 deleted in pencil
259 Fermata only in O22 and P23, in pencil
260 Slow indication only in O22 and P23, in pencil.
262 AT O21, O22, P31, P28 sbr
186
Chapter 5
5.7.8.8.2 Jubilate
7 T P28 m cr cr c’ c’ b syllable change on second note
67 OT O22, P27 br
84 T P28 m dcr q
89 Fermata only in P23 and P26
187
Chapter 5
5.7.9 Sanctus and Kyrie in E
5.7.9.1 Sources
Treble P31 (f20r)
Alto P18 (f13r), P23 (p42-43), P26 (p74-75), P34 (f9v)
Tenor P13 (f46v), P21 (f28v), P27 (p77-78), P28 (p8), P34 (f9r)
Bass P22 (f82v)
Organ O22 (p162-163)
Five books can be identified as being part of the late set of services, and provide us with the upper
three parts. These are:
Treble P31
Alto P23, P26
Tenor P27, P28
These are associated with the organ book O22. In these six sources the pieces appear between
the settings in E of the Morning and Evening canticles, though these are fragmentary in P31. The
only anomaly is the insertion of a Gospel Response after the Sanctus and Kyrie in P27, anonymous
in the source and in a different hand.
The rest of the sources appear to be earlier, and these pieces are found among other setting of
communion music by Combes and others. Unusually, f9 in P34, an alto book, has the alto part on
one side and the tenor on the other.
The principal reading taken here is from the later books, affecting part writing to include thirds at
cadences.
5.7.9.2.1 Sanctus
Bar Part Comment
7-8 T P13, P21, P34 m cr cr / sb, c’ b a / g
9 T p28 no repeat
O O22 has ‘p not repeat’ in pencil
13 A P18 2nd note e’
188
Chapter 5
14 A P18, P34 e’ appoggiatura. Performers wishing to include this could consider

adding an equivalent c#’’ appoggiatura to the treble line.
16 A P18, P34 c’
26 Tr O P31 last note e’
26 A P18, P34 3rd note e’
26 T P13, P21, P34 m m, b b
27 A P18, P34 e’
27 T P13, P21, P34 b
27 SATB P13, P18, P21, P22, P34 sb
5.7.9.2.2 Kyrie
1 A P18, P34 1st note e’
5 A P18 e’ appoggiatura to 2nd note
10 A P18, P34 e’
10 AT P18, P21, P23, P26, P34, P34 sb mr
11 A P18, P34 1st note e’
15 T P13, P21 sb mr
15 T P13, P21, P34 c’ c’ e’
20 A P18, P34 e’
20 AT P18, P21, P34, P34 sb mr
189
Chapter 5
5.7.10 Magnificat and Nunc Dimittis in E
5.7.10.1 Sources
Treble P31 (f20v)
Alto P23 (p44-47), P26 (p76-79), P34 (f4r-5r)
Tenor P13 (f32v-34r), P21 (f67r-67v), P27 (p78-82), P28 (p9-13)
Bass P22 (f65v-66v), P24 (70r-71r)
Organ O22 (p164-172)
The treble fragment, bound into P31, breaks off after b62 of the Magnificat.
Five books can be identified as being part of the Late Service Set, and provide us with the upper
three parts until P31 breaks off. These are:
Treble P31
Alto P23, P26
Tenor P27, P28
These are associated with the organ book O22. In these six sources the pieces are found directly
after settings of the Matins and Communion texts.
5.7.10.2 Gloria
The Late Services Set books write out the Gloria in full after each canticle. Earlier sources indicate
‘gloria as before’.
5.7.10.3 Bass part
The only extant bass parts are earlier sources, so we have no direct evidence for any adaptations
that may have been made to match the later set. However, the organ part does provide clues,
such as at b110, where a different rhythm gives matching underlay. These clues have been
followed where appropriate, and listed in the Textual Commentary.
5.7.10.4.1 Magnificat
Bar Part Comment
190
Chapter 5
4 T P12 m m b f
6 A P23 2nd, 3rd notes d’ d’
9 A P34 1st note f’
10 A T B P13, P21, P22, P24, P34 lack slurs, indicating three syllables on ‘saviour’
10 A P34 m cr cr, f f e
10 B P22, P24 2nd note f
12 All O22, P13, P21, P22, P24, P31, P34 sb. The rhythm of the late version has been
applied to all parts.
24 T P13 dsb
29 AT P13, P21, P34 lack slurs, indicating five syllables on ‘generations’
34 T P13, P21 2nd note b
25 T P13, P21 a
37 AT P23, P28 rhythm altered to cr cr m
51-56 T P13 has:
54-56 A T B P13, P21, P22, P24, P34 ‘generations’ set as 5 syllables
54 T P21 m m
55 B P22, P24 m m, A A, corrected to Gs in P24. Adapted to sb to fit later underlay
70 A P34 c’
85 A P34 m m e#’ f’
86 O O22 2nd figure # missing
99 B P22, P24, 3rd note g
110 A, T P13, P21, P22, P24,P34 m m ‘our fore-‘ Bass altered to fit later underlay
112 A P26 # deleted
113 A P34 2nd note f’
191
Chapter 5
120 T P13 m cr cr, b b a
125 O O22 br
128 T P13, P21 3rd note a
136 B P24 2nd note b
146 B P22, P
147 T P21 br ‘-men’
147 A P26 # deleted, P34 c’
148 A P35 sb d’
153 AT P34 m m e’ c’, P13, P21 m m g a, ‘-out end’
154-156 A P34 m m / sb / sb, b b b b, ‘amen, amen’
154 T P13, P21 ‘-men, a-‘
154 T P13 2nd note a
156 A T B P12, P21, P22, P24, P34 sb
5.7.10.4.2 Nunc Dimittis
12-13 T P28 additional harmony added in pencil over the ink notes – b12 2nd note
added f, b13 added f and b, original d crossed out.
18 A T B P13, P22, P24, P34 lack of slurring and repetition in bass imply four syllables on
‘salvation’
18 A P34 m cr cr, e’ e’ d’
18 B P22, P24 m m
22 A g’
25 O O22 2nd figure # missing
35 T P13, P21 m m, c’ a
37 T P13, P21 dm cr
44 T P27, P28 br
192
Chapter 5
45-end Variants as for 127-end of Magnificat
193
Chapter 5
5.7.11 Sanctus in F and G
A single setting of the Sanctus appears written in both F major and G major several times across
the partbooks. The F major version is only in the later books, the G major is more widespread. In
all instances it acts as a companion to settings of communion texts by other composers. For a
discussion of the function of this music, see Sanctus, above.
5.7.12 Sanctus in F
This setting appears in the partbooks completing Gibbons’s Short Service, and is found between
the Benedictus and Kyrie of the full day of music of that setting, in all sources. It comes to us
exclusively from the Late Services Set. It should be noted that a setting of the Sanctus text by
Gibbons was published in Boyce’s Cathedral Music, Volume 3 in 1773. 173 However, it was not part
of the set of service music by Gibbons published in the first volume in 1760. Wimborne Minster
was a subscriber, and has a copy of each volume on the shelves of the Chained Library. It would
seem likely, therefore, that the copying predated the publication of Volume 3.
5.7.12.1 Sources
Alto P23 (p67), P26 (p51)
Tenor P27 (p53), P28 (p49)
Bass Reconstructed from O22
Organ O22 (p109)
5.7.12.2 Repeat indication
O22 and P27 have repeat symbols in the middle and at the end, P23 and P26 just in the middle,
and P28 has no symbols.
5.7.12.3 Organ part
In the first six bars of the right hand, additional notes have been added in pencil. These do not
seem to support the harmony, and indeed do not fit rhythmically, so are omitted here.
173
See section 5.5.1 for Percy Buck’s discussion of the Gibbons Sanctus.
194
Chapter 5
Bar Part Comment
6 O Naturals not marked in figures
13-14 A P23, P26 have naturals on both C#s. Organ figures indicate correct harmony
20 O Figure 7 marked with natural
195
Chapter 5
5.7.13 Sanctus in G
This setting appears connected to a variety of settings of communion music through the
chronological spread of the part books.
Most consistently, it is linked to and precedes a Kyrie and Nicene Creed by Aldrich in O21, O22,
P26, P27, P28, and the same Kyrie in P23. The regularity of this appearance is to be expected in
this later set of books.
In P18 it is in the vicinity of other settings of communion music by Aldrich and Combes, though
not with a logical connection to a specific set.
In P24 it appears after the Aldrich Kyrie and Creed, and before a Farrant Kyrie in C.
In P34 it comes before a Sanctus-Kyrie pair by Combes in D. This is a variant of the main
communion setting in D, and has been crossed out. It is presented here in the Incomplete Works
section.
In P21 it precedes a Nicene Creed by Farrant in C, and follows the variant Sanctus-Kyrie in D pair
by Combes, again crossed out.
In P22 it appears before the Farrant Creed in C, and is labelled ‘to be sung before Aldrich, Farrant
or Combes Commandments’
The genesis of the piece is therefore unclear, with it appearing in various guises in the earlier
books before its adoption as the opening of the Aldrich communion service in the later set.
5.7.13.1 Sources
Treble Reconstructed from O21, O22
Alto P18 (f13r), P23 (p53), P26 (p38), P34 (f3r)
Tenor P21 (f2v), P27 (p37), P28 (p79)
Bass P22 (f20r), P24 (f28v)
Organ O21 (rear p86), O22 (p69)
5.7.13.2 Organ Part
The figuring is taken from O22, which is slightly more comprehensive than O21.
196
Chapter 5
Bar Part Comment
6 O No sharpening of 6 figure indicated
11 O O21 m m
20 A P23, 26 no accidental
22 T P27 chord c’ and e’
197
Chapter 5
5.8 Published works
Combes’s published output is small, comprising appearances in two compilations, but indicates a
certain degree of stature, largely accruing to him from his tenure in Bristol.
5.8.1 Psalms
The first is a collection of Psalm tunes, printed in Bristol. The frontispiece says:
Twenty Psalm Tunes
in three parts
adapted and Sung to the New Version of the Psalms
at the Cathedral & most other places of
PUBLIC WORSHIP in BRISTOL
most of which were never before Published
Composed by the late Mr. Coombes and other eminent Masters
LONDON. Engraved and Printed by LONGMAN, LUKEY & Co for T. Naish, Goldsmith, Cutler and
Music-Seller in BRISTOL
The ‘New Version of the Psalms’ referred to is the metrical translation by Nahum Tate and
Nicholas Brady, published in 1696.
Of these twenty tunes, five have a printed attribution to Mr Coombes, Psalms 21, 105, 13, 108
and 137. The copy in the British Library, shelfmark A1231.u, has the name Samuel Wesley
inscribed on the title page and numerous dynamics and some additional notes written in. It is a
facsimile of this that is reproduced here as Appendix C. Many of the settings are unattributed,
though Psalm 23 is given as by Mr Smith, five have the initial Wm B, and there are pencil
attributions for others, perhaps written in by Samuel Wesley (for example, Psalm 149 attributed
to Dr Croft).
This setting of Psalm 149 is a way in to considering the question of authorship of this collection.
The melody, held by the tenor part, is indeed Croft’s, known to modern hymn singers as Hanover.
The melody has some elaboration, and it is accompanied by a simple bass and a slightly
ornamented descant, which appear to be distinctive to this publication. As Combes is the named
198
Chapter 5
author of the collection, could this arrangement be his? 174 Could that also apply to the other
unattributed items in the book? This also has a bearing on an authorship question of Psalms in the
Wimborne partbooks, considered in the Psalms section of the chapter on Incomplete Works.
There are tunes by Combes in the Wimborne books for three of the five psalms with his name in
the published collection, but only one of the settings is related. This is Psalm 108, which appears
in the Wimborne books in two different forms, one with the older Ravenscroft version of the text,
one with the newer Tate and Brady. Only the bass line is largely the same, octave leaps excepted,
between the manuscript and published versions. The melody is missing in the manuscripts, but
the one given in the publication, held there by the tenor voice, fits with the alto and tenor parts
surviving. However, comparing the styles of the other remaining parts would suggest that the
version of the melody presented in the publication is more ornamented than the original. I have
presented a possible version in the Psalms section of the incomplete works.
This highlights the contrast of styles between the settings in the Wimborne books and these
published items. The former would appear to be in four parts, with a melody on top, though those
melodies are lost. The latter are in three parts, with the melody, or ‘Air’ in the middle voice, and a
descant above. The style is more florid, with passing notes in melodies and descants, and liberal
use of grace notes.
5.8.1.1 Edition
The edition contains the five psalms attributed to Combes, with the words as presented in the
publication. A facsimile of the whole publication can be found in Appendix C.
5.8.2 Catch
The second is a catch in Edmund Thomas Warren’s publication A Collection of Vocal Harmony
consisting of Catches Canons and Glees… to which are added several Motetts and Madrigals
composed by the best Masters, selected by T. Warren. It was published around 1775 in London by
Welcker. This large collection contains a diverse range of sacred and secular music by English and
continental composers. Combes’ catch concerns organists of Wimborne Minster, buried in the
church. Tyler and Day are readily identified, though Pottle is a little more obscure – perhaps it is a
corruption of Cottrell, organist from 1627 until the Commonwealth. The wish to ‘make a
thund’ring grave for Combes’ was not to be fulfilled, as he was buried in Bristol.
For discussion of another example of publication of an arrangement of this melody, see Nicholas
174
Temperley. ‘Croft and the Charity Hymn.’ The Musical Times 119, no. 1624 (1978): 539–41.
199
Chapter 6
Chapter 6 Critical Commentary to the

Incomplete Works
This section presents the music of George Combes that comes down to us incomplete. This is
generally due to missing treble and organ parts, but also includes a fragmentary Te Deum, psalm
settings with fewer parts, and an early version of the evening canticles in A.
The purpose of this is to give a full view of the work of Combes, which gives an interesting picture
of his development as a composer, and as a basis for future reconstruction. As such the editorial
approach is different to that of the main, performing, edition.
For ease of use clefs have been modernised and barring regularised, with rhythmic notation
adapted as necessary. On the other hand, original slurring has been retained, and the spelling and
capitalisation of text is as presented in a single original source, to give as close a representation as
possible of the original.
The commentary on each pieces gives the position in the source, variants between readings, and
any other pertinent details. There are also some more extended discussions of the relationships
between these pieces and later works.
201
Chapter 6
6.1 Anthem
6.1.1 Bow Down Thine Ear
This is the most fragmentary of the anthems we have, with only one alto, one tenor and two bass
books extant. The lack of an organ part means we also have no treble line. The situation is
complicated by evidence of further divisions of parts.
The bass part books, P22 and P24, have sections of independent lines, definitively showing that
this piece had passages in more than four parts. The verse in bars 65 – 90 appears to need a tenor
part, with bar 71 needing another voice to lead the imitation, which could have been in a tenor
partbook that is now lost. Bars 113 – 122 suggest antiphonal writing that may have involved all
voices, or just lower ones (the use of divisions in all voices is seen in the Te Deum in A, for
example). When all the voices that have come down to us sing together in this section, the two
bass parts often double the harmonic bass in octaves. The other parts therefore may or may not
have been fully independent.
So, whilst this is not the longest of Combes’ anthems, it is conceived on a grand scale in terms of
vocal scoring. However, it does not feature the showy passages for bass and, particularly, alto that
are a distinctive feature of the anthems preserved in the later sources. Perhaps this is a reason for
its slipping out of the repertoire as musical tastes veered towards the soloistic style.
6.1.1.1 Text
The text is verses 1-5 and 16 of Psalm 86, in the Coverdale translation.
Chorus
1 Bow down thine ear, O Lord, and hear me : for I am poor, and in misery.
Verse
2 Preserve thou my soul, for I am holy : my God, save thy servant that putteth his trust in
thee.
Chorus
3 Be merciful unto me, O Lord : for I will call daily upon thee.
Verse
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4 Comfort the soul of thy servant : for unto thee, O Lord, do I lift up my soul.
Chorus
16 O turn thee then unto me, and have mercy upon me : give thy strength unto thy servant,
and help the son of thine handmaid.
6.1.1.2 Sources
Alto P34 (f27v-28v)
Tenor P21 (f96v-97r)
1st Bass P22 (f87v-88v)
2nd Bass P24 (f85v-86v)
6.1.1.3 Editorial Procedure
Where only one bass line is shown, it is the reading from P24, which is almost identical to that in
P22. Some rhythms have been editorially altered to clarify their meaning. These are marked with
small notes and dotted slurs. Whilst the opening section is predominantly in 2/2, all sources have
some four minim bars. These are to avoid tying notes across the bar, such as in the first alto entry.
This has been regularised here.
Bar Part Comment
14 B P22 2nd note no natural
25 B P22 2nd note no natural
31-35, 44-48T P21 shows evidence of correction
99-100 TB P21, P24 dsb, dsb, P22 sb, m-rest, sb, m-rest. P34 reading followed as it
matches the sense of the text most closely.
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6.2 Services in D
In the edition of completed works there are settings of the Morning Canticles and Communion
music in the key of D. More settings in this key of the morning canticles, as well as an evening set,
can be found in the earlier books, though these come to us in varied states of completion. Is there
a relationship between these settings?
The contenders for linking together are:
Te Deum (fragmentary) and Benedictus in D
Te Deum and Jubilate in D
Sanctus and Kyrie in D
Cantate Domino and Deus Misereatur in D
The Kyrie and Creed in G should perhaps be added to this for reasons given in the introduction to
those works and we shall return to them later.
Combes tends to follow the practice of a shared Gloria Patri across a full day’s settings, with an
interesting variation across the service in A. The Benedictus Gloria is shared by the evening
canticles, Cantate Domino and Deus Misereatur, but not the Jubilate. This implies that the
evening canticles have a stronger link with the fragmentary Te Deum and Benedictus than with
the Te Deum and Jubilate. This is supported by the source distribution of the various pieces,
shown below:
Table 19 - Distribution of service setting in D across the partbooks
P12 P13 P18 P21 P22 P23 P24 P26 P27 P28 P31 P34 O13 O21 O22
Te Deum x x x x x x x x x x x x x
Jubilate x x x x x x x x x x x x x
Te Deum
fragment x x x x
Benedictus x x x
Sanctus x x x x x2 x x2 x2 x2 x2 x x x2
Kyrie x x x2 x x x x x x x x2 x
Cantate x x x x
Deus x x x x
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It can be seen here that the Te Deum fragment, Benedictus, Cantate Domino and Deus Misereatur
all appear only in early sources (see Sources Introduction for a discussion of dating), though not in
a precise pattern. They are also not positioned as a set within the books, though often morning
and evening canticles are separated as a matter of course.
The morning and communion settings are found in all vocal sources apart from P12 (see a similar
pattern in P12 in the discussion of the early version of the evening canticles in A). This covers a
long period of time, and the organ source O13 is dated 1847, making this the latest copying of
Combes in the collection. In all instances these pieces are found together and in order, so are
clearly a group. The exception is the additional copyings of the Sanctus, which were used to
complement a setting of Responses to the Commandments and the Creed by Rogers.
In P21 and P34 two versions of the Kyrie are found, with the version not matching the other
sources crossed out.
So we see two distinct services in D – the early Te Deum, Benedictus, Cantate Domino and Deus
Misereatur, and the possibly later and certainly more long lived Te Deum, Jubilate, Sanctus and
Kyrie, without a matching evening set.
The grouping of the earlier services can be seen in the following table, and some implications
drawn from this are discussed in the commentaries on individual pieces. It can be seen that there
is a clear connection between the early morning canticles in D and the communion music in G,
with them appearing together in P12, P13, P18, and P21, whereas the D major communion music
is linked with the later settings.
Table 20 - Source distribution of early settings in D and G
Te Deum Benedictus Evening Com in D In G
P12 Alto f42r f43v-45r
P13 Tenor f19r f25v-28r f46r f19r (K only)
P18 Alto f10r f10r-11r f22r f11v-12v
P21 Tenor f8v – f10r f10v-11v f59r-60r f2v f11v-13r
P22 Bass f59v-61v f81v-82r f28v-29r
P24 Bass f65r-66r f59v-61v f38v
P34 Alto f14v-16v f8v
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Chapter 6
The complete separation of these two groups is challenged by the style and the transmission of
the fragments of the early Te Deum, however, and this is discussed further in the next section.
The incomplete works from this loose grouping are introduced separately below.
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Chapter 6
6.2.1 Te Deum in D – early version
The fragments of an early Te Deum in D can be found in four partbooks.
6.2.1.1 Sources
Alto P12 (f42r), P18 (f10r)
Tenor P13 (f19r), P21 (f8v-f10r, see below)
Of these, the most is found in P21, the tenor part, from folios 8 verso to 10 recto. The middle
sheet (f9) has been cut out of the book, with the text from ‘the noble army of martyrs’ to ‘O Lord,
save thy people and bless’ being lost. Furthermore, the remaining sections have been crossed out,
though the notation is still legible. It is followed by the Benedictus in D. As this is the only source
with the beginning of the piece, it is only through this reading that we can give the certain
attribution to George Combes.
The other tenor source is P13, where the end, from ‘Lord to keep us this day’, appears on f19r. It
is followed by Combes’ Kyrie in G and an instruction that the Creed in G follows, and then, on
f20r, by the Benedictus in D. It is preceded by a different, anonymous, Te Deum.
Only the end of the piece is found in the two alto part books, P12 and P18. In P12, f42r has six
lines of music, starting from ‘O Lord have mercy upon us’. It is followed by Combes’ Kyrie and
Creed in G.
In P18 four lines from the end of the Te Deum, from ‘mercy lighten upon us’ appear above the
Benedictus in D. It is preceded, from f8v, by an anonymous setting of the Te Deum.
6.2.1.2 Relationship to other settings
The fragmentary nature of the sources and the erasure of P21 suggest that this setting fell into
disuse. It is worth considering its relationship to other pieces, however. It is clearly coupled to the
Benedictus in D, appearing alongside it in all books apart from P12. The only other source of the
Benedictus in D we have is in P24, where the music starts at the top of the page. If rebinding is an
issue here, as it is elsewhere, this would mean that it could have originally been attached to the
Te Deum without it being preserved as it was in P18. There is clearly also a link to the communion
pieces in G, which appear alongside it in P13 and P12.
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Chapter 6
The anonymous Te Deum found in P13 and P18 that preceded the fragment could be seen as a
replacement to make a companion for the Benedictus. It is written in a key of two sharps, though
musically it is in A major.
Whilst it is clear that there are two distinct morning services in D, as explained in the previous
section, there are tantalising glimpses of a relationship between the two settings in the music of
the two Te Deums. Whilst these are completely different pieces of music, the following
comparative extracts demonstrate that ideas from one work were taken up in the other. These
are close melodic matches, but there are other details that show correspondence of shape or
rhythmic approach across the two works.
Figure 43 - comparison of fragments from settings in D of Te Deum
Given the near-complete removal of the one Te Deum and the longevity of the other, it is
reasonable to assume that George Combes felt he had written a better Te Deum using some
favourite ideas from the first, making that original Te Deum redundant. He was clearly at pains to
ensure that it was the improved setting that remained in the active repertoire. It may be that on
occasion the new Te Deum was coupled with the Benedictus when that text was wanted.
The extant text of the fragmentary Te Deum is presented here, with the tenor voice for the
opening and closing quarters, approximately speaking, joined by the alto for the final passage.
There are no significant divergences between the sources in the brief passages for which more
than one reading is available.
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Chapter 6
6.2.2 Benedictus in D
6.2.2.1 Sources
Alto P18 (f10r-11r)
Tenor P13 (f20r-f21v), P21 (f10v-11v)
Bass P24 (f65r-66r)
Bar Part Comment
1 A T B P13 P18 P24 dsb, dot after barline
1 T P21 mr, dm
32 T P13 no sharps
37 – 40 T P13, P21 repetition of text with notes erased
107 A P18 3rd note begins a new line and is not sufficiently distinct – it could be a g
122 T P13 1st note no natural
163 T P13 notes slurred, no ‘and’
171 – 176 A T B The dissonant harmonies here are as they appear in the sources
178 T P13 m, mr
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Chapter 6
6.2.3 Early Sanctus and Kyrie in D
6.2.3.1 Sources
Alto P34 (f3r)
Tenor P21 (f2v)
This is found in just two sources, and has been crossed out in both. The version presented in the
main edition can also be found in each of these partbooks. In both books it shares a page with
Sanctus in G, which comes before in P21 and after in P34.
6.2.3.2 Relationship to later setting
The Kyrie has substantial similarities to the more widespread setting in D, but includes points of
imitation in both sections, rather than just the first. There is also some swapping of voicing
between the alto and tenor parts. It is presented here with the alto and tenor parts of the main
version underneath, for comparison. The Sanctus is less similar, though the second phrase
(beginning ‘heav’n and earth) are substantially the same, with some less felicitous part writing
adjusted. This can be seen in the fourth and fifth bar of the extract below. Like the Kyrie, it is
slightly more extended than the later version.
Figure 44 - extract from alto and tenor parts of two versions of Sanctus in D
Without access to the other parts, it is hard to see how the unusual part writing of the end of the
Kyrie was completed. Perhaps awkward moments such as those highlighted here contributed to
the reason for a revised version.
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Chapter 6
6.2.4 Cantate Domino and Deus Misereatur in D
The connection of this set of evening canticles to the Te Deum and Benedictus in D discussed in
the introduction to the Services in D, above, is most clearly demonstrated through the doxology.
This is shared between the Benedictus and these two pieces, and indeed is missing from the bass
part books, presumably with the intention that the singer could turn back to it. As the sources
come down to us that is problematic. The Benedictus is a couple of folios earlier in P24, but
absent from P22. This may well be an indication of later rebinding of the music. There is a high
level of correspondence between these linked sources, with only one musically significant variant.
6.2.4.1 Sources
Alto P34 (f14v-16v)
Tenor P13 (f25v-28r), P21 (f59r-60r)
Bass P22 (f59v-61v), P24 (f68r-69v)
Bar Part Comment
6.2.4.2.1 Cantate Domino
28 B P24 m dm cr, g a A
55 T P13 2nd note a
105 A P34 db
107 B P22, P24 db
6.2.4.2.2 Deus Misereatur
23 A mqq
38 All the repeats are indicated by :s: signs at either end
55 A P34 dsb cr
62 All The repetition is indicated by the words ‘Verse Let the people as before’
without notes in all parts.
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Chapter 6
6.3 Other service music
6.3.1 Versions of Cantate Domino and Deus Misereatur in A
6.3.1.1 Sources
The main version of the evening canticles Cantate Domino and Deus Misereatur is found in a wide
spread of sources, the earlier P13, P21, P22, and P24, the late settings collection P23, P26, P27
and P28 with its organ book O22, and in P34. Indeed, it re-entered the repertoire of the Minster
choir in the late 20th century. However, an early version can also be found - for clarity, I will refer
to this earlier version as version A, and the later, revised one as version B. It appears in the
following five sources:
P12 Alto f33v – 34r Anonymous in source. First and last pages only
P13 Tenor f37r – 39r Anonymous in source
P21 Tenor f55r – 56r Folio 55r crossed out, folios 55v – 56r glued together
P22 Bass f56r – 57v
P24 Bass f62r – 63v
The first two of these have only recently come to light, being unattributed in the source and
therefore listed as anonymous in the catalogue. All these sources apart from P12 also contain
version B (see a similar pattern in P12 in the discussion of the early Te Deum in D). There is
evidence of rebinding in these volumes, so the bringing together of both versions (though not
consecutively) is not surprising.
That the version B is a revision of, and supersedes, version A is supported by the distribution in
the part books. Whilst exact dating is impossible, an examination of the physical appearance of
the books and consideration of their contents makes their relative age clear, and this is discussed
in more depth in the introduction to the sources. We see that version A only exists in earlier
books, generally alongside the other version, whereas the later books only contain version B. That
replacement was intended is implied by the two incomplete sources, one where the material has
been deliberately made unusable (P21), and the other where its preservation may only be due to
the music on the other side of the sheets (P12).
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Chapter 6
6.3.1.2 Differences between versions
Unlike the case of the two Te Deums in D discussed elsewhere, these are substantially the same
piece of music. The later emendations take a few different forms.
1. Completely new material, or sections that only share small motivic ideas.
2. The addition of repetition, sometimes including development, in the later version.
3. Adjustments to part writing within essentially similar passages.
This table gives a structural comparison of the two works, demonstrating the larger scale of the
reworking in the numbers of bars, showing key progression within sections, and giving a brief
summary of the types of changes involved.
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Chapter 6
Table 21 - Comparison of versions A and B of Cantate Domino in A
Bar number 24 to 42 to 57 to 73 to 91 to 115 to 150 to

(version B) 1 to 23 41 56 72 90 114 149 171
A bars 16 13 15 13 12 19 30 20
B bars 23 17 15 16 18 24 35 22
A key A-E E A A A-D D D-E-A A-E-A
B key A A A A A-D D D-E-A A-E-A
Largely
same
Same with
repeats x x x
rewritten x slight x x x
largely
different x x x x
Table 22 - Comparison of versions A and B of Deus Misereatur in A
Bar number 14 to 26 to 34 to 52 to 60 to 77 to 100 to

(version B) 1 to 13 25 33 51 59 76 99 121
A bars 13 12 8 13 8 17 9 20
B bars 13 12 8 18 8 17 23 22
A key A A-b b D D-A-D A-D A-E-A
B key A A-b b D D-A-D A-E-A A-E-A
Largely
same x x x x x
Same with
repeats x
rewritten
largely
different x x
There is an obvious difference in the amount of revision of the Cantate Domino and the Deus
Misereatur. Whilst there are many changes of detail in the latter, the material is substantially the
same apart from the final section and the shared Gloria.
6.3.1.3 New Material
The sections in the Cantate Domino beginning ‘The Lord declared’ (bars 24-41, version B), ‘Praise
the Lord upon the harp’ (bb 73-90), ‘Let the sea make a noise’ (bb 115-149) and ‘Glory be to the
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Chapter 6
Father’ (bb 150-171) are substantially different. The Gloria is a completely different piece of
music. It is interesting to note the relationship of the evening canticles to the morning set in A
major. The Jubilate has a Gloria that is initially the same as version B’s, but has a simpler ending,
without the dramatic bass flourish. One could speculate about the order of composition of these
– was the Jubilate Gloria written after version A, but then expanded in version B, or was it
simplified from Version B? The simpler version also provides the conclusion of, and the only
choral passage in, The Lord is King. The other three adapted sections, two verses and a chorus,
have some shared material between versions such as the final section before the Gloria, but are
largely new. It is interesting, however, that they often follow the same key patterns, the shift to D
major in ‘Praise the Lord upon the harp’ being particularly distinctive. The major exception is the
first verse, where Combes rethinks a section in E early in the piece. This leaves the whole
composition without a significant portion in the dominant, which must have been a conscious
decision.
6.3.1.4 Repetitions
The most common and distinctive form of repetition is of the final phrase of a section, analogous
to the French ‘petite reprise’. This adaptation of Combes’s music can be seen elsewhere, such as a
variety of repeat indicators, some in pencil, in early copies of Give Sentence O Lord. The
development of this style can be seen in repeat indications written in to copies of version A. There
is only one instance in the Cantate Domino, in P22 and P12 on the words ‘sing, rejoice and give
thanks’, that brings them into line with version B at bar 66. It is curious that this has not made it
into the other parts. The procedure is more common and consistent in the Deus Misereatur,
where two repetitions are marked in all parts. The first is a simple repetition of ‘and govern the
nations upon earth’ in bar 46 (B numbering), that brings the two versions to the same conclusion.
The second repeats the final phrase before the Gloria (bar 86, B numbering). Critically, this does
not create the modulation back to A major that the extended and varied repeat in version B
achieves. This gives a greater sense of tonal completion and balance to the movement, as well as
the rounding off provided by the thematic development. Within this development is a final repeat
of the developed material.
Other examples of developed repetitions appear in the Cantate Domino, unforeshadowed by
repeat indications in version A. One example is the end of the first section, bars 18-23, where an
elegant adaptation of the phrase not only serves to round of the section, but also to change the
harmonic direction to lead to the newly composed verse, this time remaining in the tonic. There
are also smaller repetitions, which serve to strengthen particular points, and to give clearer
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Chapter 6
balance to the music. One of the first type is the addition of an opening two chords to produce a
more arresting start to the work. In bar 112 an insertion of an extra ‘the Lord’ serves to make the
ending more emphatic, but also provides a phrase structure of 4 bars + 6 bars for the chorus,
rather than 4 bars + 5 bars.
This whole section features expansions at the beginning and at the end, though exactly what filled
the passages between chorus interjections can only be conjectural, as the organ and upper voices
provide most of the material here. Below is a possible reconstruction, combining the length of
bars rests indicated in version A with the upper voice material from version B:
This gives phrase structures of:
Table 23 - Phrase structures of 'With trumpets' section of Cantate Domino in A
Organ Verse Chorus+Verse Chorus Chorus
Version A 2 5 3 4 5
Version B 5 5 3 4 6
So the structure of the later version is more balanced, though still with somewhat irregular phrase
lengths.
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Chapter 6
Figure 45 - editorial reconstruction of 'With trumpets' section of Cantate Domino in A
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Chapter 6
It is possible that the longer organ introduction was written for the rebuilt organ, installed in 1765
at the end of George Combes’ tenure. In the organ book O22 it is marked ‘Trumpet’. This is not a
stop that was available on the original organ of 1664, so may have been installed in the rebuild by
Brice Seed of Bristol, though the exact specification is not known. 175
6.3.1.5 Part writing
The final type of alteration is ‘tweaking’ of part writing. We are not in a position to know the full
extent of this, having only two parts available throughout, and only sections with a third part. It is
therefore impossible to tell if a change in a note had a knock-on effect in another part. To take
one example, in the fourth bar of version B of the Cantate Domino, which is equivalent to the
second bar of version A, the tenor part is ACBB, whereas the old version has AABB; the alto part is
ECDE, in the older EEEE. The new reading creates a pleasing contrary motion to the treble part in
the tenor and parallel sixths with the alto. Did the composer spot this felicity in the inner parts
and change them to enhance the existing treble line, or did the original treble part also have
repeated notes – CCBC? This is a question that would have to be addressed in the event of
attempting a reconstruction of the earlier version, if that held some appeal. Other emendations
can be seen simply as enhancements, such as the tenor passing note in bar 8. There does seem to
be a tendency to prefer aligned text in the later version – see bars 11 and 17 as examples, as well
as the changed underlay in 13 – but again, this is hard to establish definitively without all the
parts.
Whilst the two versions of Deus Misereatur are structurally closer, there are a significant number
of adaptations to the part writing, often involving more ornamented writing (for example bars 44-
47, in version B). Some of these clearly indicate changes in the parts we do not have. One example
would be bar 19, where the older tenor part would be in octaves with the treble unless the latter
were different. That being said, there is a glaring instance of consecutive fifths between tenor and
bass at bar 28, and there is no particular reason to judge the harmonic language of this music by
the values of undergraduate Bach chorale harmonisations. Be that as it may, it offended the
sensibilities of Wimborne enough to be removed at the revision. Another is a particularly telling
moment in version B at bar 58. Here, the second appearance of the words ‘let all the people
praise thee’ the treble line of version B rises to an E, making an effective moment of climax.
175
Matthews, Organs and Organists, 10. See also DHC, PE-WM/CW 1750-1765
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Chapter 6
Whilst the treble line of A is conjectural, this gesture does not sit well with the tenor part as it
appears here.
6.3.1.6 Conclusion
There is no suggestion in the sources that the revisions were undertaken by anyone other than
George Combes, and the presence of the later version in relatively early sources backs that up
(see the discussion of the possibility of Richard Combes copying P23, P26, P27 and P28
elsewhere). This is a clearer situation than in some of the anthems, where some details of
performance style such as rhythmic alterations may be the result of other performers’ input over
the years. For modern performers, the choice of version is not a difficult one. Firstly, only the later
version can reliably be reconstructed. Secondly, the source situation clearly shows a preference
for the later version, with one example of the earlier being crossed out (see a similar situation
with the two Te Deums in D), and another only preserved for the sake of the music on the reverse
side. This preference is continued in the copying into the later services books, P23, P26, P27, and
P28. Thirdly, it would seem that the aim of the revisions was to give the work greater balance and
interest, as well as correcting some inelegant moments. I would argue that it is successful in this
attempt. However, it is interesting to see the development in Combes’ compositional style, and
there are some moments where the early version has much to commend it, such as the first verse
section of the Cantate Domino. From a biographical standpoint, is it tempting to wonder whether
Combes’ stay in Bristol may have given him opportunities and exposures to develop his musical
style, leading to this revision. Indeed, it is hard to imagine that his musical horizons did not
broaden in Bristol, as discussed in the chapter on the Friendly Society. However, he had a wealth
of excellent musical examples at his disposal within the Wimborne part books, so we can not tie
these things together so neatly.
The work is presented here as fully as possible, with all three parts presented where they are
extant. No further reference to version A is made in the critical commentary to version B, which
only deals with inconsistencies within that version.
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Chapter 6
6.3.2 Communion in G
This set consists of a Kyrie and Nicene Creed, found together, in that order, in four early sources,
and in the reverse order in one other. There is one additional appearance of the Kyrie alone. The
Sanctus in G presented in the main edition is not linked to these movements, possibly indicating a
different liturgical usage at the time of composition (see discussion in the introduction to Services
in the main Critical Commentary)
6.3.2.1 Sources
Alto P12 (f43v-45r), P18 (f11v-12v)
Tenor P13 (f19r, Kyrie only), P21 (f11v-13r)
Bass P22 (f28v-29v), P24 (f24r-25r, Creed first)
The upper outer corner of the two folios of P24 is torn away, obscuring a number of bars.
6.3.2.2 Notation
Barring is irregular across the sources, but each includes the use of two minim bars, adopted here.
A flat sign is often used to indicate an F natural, particularly in the Creed in P22.
Bar Part Comment
6.3.2.3.1 Creed
1 B P24 mr, m
27 B P24 e B
67 A P12 f’# f’# f’#, first sharp shows attempt at erasure, P18 f’ f’# f’# Neither fits
with the harmony, and they have been corrected here, though this solution cannot be considered
ideal.
67 B P24 b a a
96 B P24 1st note no accidental
153 A P12 breve
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Chapter 6
6.3.3 Communion in G minor
6.3.3.1 Sources
This setting is found in four early partbooks, at the ends of sections of service settings by Combes.
Alto P34 (f10r)
Tenor P13 (f47r), P21 (f31v)
Bass P22 (f85r)
Moments of unusual harmony, such as bars 5 and 14 of the Sanctus and the first two bars of the
Kyrie are presented as they appear in the sources. It may be that these infelicities led to the
pieces dropping out of use, or perhaps lack of use meant that errors went uncorrected. Either
way, the fact that these pieces were not further copied in the partbooks indicates less longevity
than other settings.
Bar Part Comment
6.3.3.2.1 Sanctus
17 T P13, 2nd note d’
6.3.3.2.2 Kyrie
10 ATB All sources lack a dot on this note.
11 T P21, 2nd note g
20 ATB All sources lack a dot on this note.
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Chapter 6
6.4 Psalms
A number of metrical psalm tunes by Combes are found in the earlier part books, as well as a
large number in the manuscript score P19, and two settings in the five books of metrical psalms
and hymns, O11 – O12 and O18 – O20. Some of these are clearly marked as by George Combes in
the manuscripts, and are therefore listed in the catalogue, but there are a number of unattributed
copyings, and some complete tunes where it might be reasonable to make an attribution to
Combes. Those with a definite or reasonably secure attribution to Combes are presented
musically as far as they are preserved. It is quite possible that a number of other tunes in the part
books may well be by Combes, but the tendency of the copyists not to ascribe names to the psalm
tunes means that there can never be a final answer to the question.
6.4.1.1 Location and attribution
The table below shows the location of all instances of psalm tunes that can be securely attributed
to Combes, including details supporting the attribution. This gives considerably more readings
than listed in the catalogue.
Table 24 - Psalms and their attributions in the partbooks
Psalm Part Book Location Attribution
15 B O11 p3 Combes in pencil
15 T O12 P2 Anon - fits with other part
15 T O18 p2 Anon - fits with other part
15 A O19 p2 Anon - fits with other part
15 A O20 p3 Anon - fits with other part
40 A P12 f80v Anon - fits with other parts
40 T P13 f95r George Combes
40 T P21 f144v George Combes
40 B P24 f133v George Combes
95 B P22 f116v George Combes
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Chapter 6
Psalm Part Book Location Attribution
105 B P24 f135r George Combes
108 B O11 p18 Anon - fits with other parts
108 T O12 p26 Combes in pencil
108 T O18 p22 Coombs in pencil
108 A O19 p26 Anon - fits with other parts
108 A O20 p21 Anon - fits with other parts
124 A P12 f80r Anon - fits with other part
124 T P21 f144r George Combes
124 B P22 f117v Anon - fits with other parts
124 B P24 f131r Anon - fits with other parts
137 T P21 f114v Anon - fits with other part
Table 1 – Psalm source distribution
A case could be made for attributing some other psalms to Combes, where two or three tunes are
found, one after the other in the same hand, with initials placed only above the first one, such as
in the figures below. Three identical appearances (in P13 f95r, P21 f114v, and P24 f113v) give us
two parts of a setting of Psalm 139.
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Chapter 6
Figure 46 - P13 f95r, showing two psalm tunes with one attribution to Combes
Figure 47 - P24 f 135r, showing three psalm tunes with one attribution to Combes.
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Chapter 6
This is problematic in the second image, however. Here three tunes are entered in the same hand,
but the middle one forms a suitable bass line to the melody now associated with O Worship the
King, all Glorious Above, but first found in A Supplement to the New Version of Psalms in 1708. 176
A complementary alto part is found in P34, f10v, a book with a great prevalence of Combes’s
music. This precise harmony has not been found elsewhere, so could be Combes’s version. There
is another unattributed arrangement of this melody in Combes’ published collection of psalms
that similarly may be his. 177 However, this casts doubt upon the strength of attributing these
items to Combes, and as such they are not included in the edition.
6.4.1.2 Style and usage
The liturgical usage of these at Wimborne is unclear, and could benefit from further study. It is
noteworthy that it is the earlier partbooks that contain these items as well as books that were
clearly still in use in the mid-19th century (see The Music Collection at Wimborne for details of
dating). Their absence from the later partbooks does not necessarily imply a gap in usage, but
could well be down to books becoming more specific in their contents.
The musical style, insofar as it can be deduced from these partial sources, is simpler than that of
Combes’ published collection of Psalms. This may indicate different usage, liturgical rather than
devotional, or a change in compositional perspective. The setting here that stands apart is that of
Psalm 124. As well as setting two verses to different music, it has small points of imitation,
reminiscent of ‘fuguing tunes’. 178
6.4.1.3 Psalm 108
The only correlation between the manuscript and published psalms is 108, which appears in a
different, more ornamented version in print. This does give us a version of the melody, otherwise
missing in the partbooks, although comparison with the styles of the other parts would suggest
that the original melody would have been simpler in style. A suggested version is presented here,
in small print.
176
William Croft, A Supplement to the New Version of Psalms by Dr Brady and Mr Tate (Savoy: John Nutt,
1708).
177
See discussion in the Psalms section of the main Critical Commentary. Coombes, Twenty Psalm Tunes
178
Sally Drage 'The Performance of English Provincial Psalmody C1690-C1840' (PhD thesis, University of
Leeds, 2009); Nicholas Temperley and Sally Drage, Eighteenth Century Psalmody (London: Stainer and Bell
for the Musica Britannica Trust, 2007).
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6.4.1.4 Text
The texts of first verses are given in the sources, with the likely intention that the rest of the
psalm would be sung from printed text copies of the psalter, although the more extended Psalm
124 sets the first two of four verses. Most of those in the earlier books are found in the The Whole
Book of Psalms Collected into English Metre by Sternhold and Hopkins. The exception is Psalm
137, from New Version of the Psalms of David, first published in 1696 by Nahum Tate and Nicholas
Brady. This is indicated in P24 as ‘New Version’. The new version predominates in the specific
psalm books, with the two examples by Combes using that text. An interesting anomaly is the one
crossover between the two manuscript groupings, and also with the published psalms. Psalm 108
appears in an early book, P22, and in the later psalm books. In P22 the words are from Tate and
Brady, in the later books (and the publication) they are from Sternhold and Hopkins, by lucky
coincidence with the same metre. For comparison, I have presented the older version in the bass
part here, and the newer in the upper parts.
Sternhold and Hopkins was used in Combes’s Bristol publication of psalms, though the setting of
Psalms 137 in these manuscripts is unrelated to the published one.
There are a number of errors in the text – they are presented here as they appear in the
manuscript, with erroneous words indicated by italics, and omissions by square brackets. The
originals are given below.
Psalm 15 Tate and Brady
Lord, who's the happy man that may
to thy blest courts repair?
Not, stranger-like, to visit them,
but to inhabit there?
Psalm 40 Sternhold and Hopkins
I waited long and sought the Lord,
and patiently did bear;
At length he did to me accord
my voice and cry to hear.
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Chapter 6
O Come let us lift up our voice,
and sing unto the Lord;
In him our rock of health rejoice
let us with one accord:
Give praises unto God the Lord
and call upon his Name;
Among the people all declare
his works to spread his fame:
Psalm 108 Sternhold and Hopkins Tate and Brady
O God, my heart prepared is, O God, my heart is fully bent
my tongue is likewise so: To magnify thy name;
I will advance my voice in song, My tongue with cheerful songs of praise
that I thy praise may show, Shal celebrate thy fame.
Now Israel may say, and that truly,
If that the Lord had not our cause maintained,
If that the Lord had not our right sustained,
When all the world against us furiously
Made their uproars, and said, we should all die.
Then long ago they had devoured us all,
And swallowed quick, for ought that we could deem;
Such was their rage, as we might well esteem
And as the floods with mighty force do fall,
So had they now our lives e'en brought to thrall.
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Chapter 6
Psalm 137 Tate and Brady
When we, our wearied limbs to rest,
sat down by proud Euphrates' stream,
We wept, with doleful thoughts oppressed,
and Zion was our mournful theme.
Psalm, bar Part Comment
15 T The title ‘Oxford’, in pencil, has been crossed out and replaced by ‘Lincoln’
15, 6 T O12, O18 have ‘soft’ in place of ‘verse’
15, 13 B O11 m
108 AT O12, O18, O19 and O20 have evidence of considerable alteration
108, 7 AB O19, O20, P22 sb
108, 11 T O12 sb
108, 14 B P22 m
124 A Various passages are illegible in the source with bleaching in the gutters of the
lower part of the page obliterating the ends of lines.
124 T Note lengths at phrase ends inconsistent. Reading from P21 presented here.
124 B P24 is written in C minor. The following variants are given as if transposed to D.
124, 24 B P24 c d e. The higher notes given in P22 are written here and crossed out.
124, 51 B P24 c d e. The higher notes given in P22 are written here, smaller.
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Chapter 7 Conclusion
This thesis has illuminated the rich musical life of a provincial Dorset town in the 18th century. It
has brought out details of the lives of musicians, their interconnectedness, social status and
education; highlighted the remarkable independence of the institution whilst acknowledging its
relationship to regional centres; demonstrated the cultural focus it provided to the area; and
provided a balance to the prevailing narrative of decline in liturgical music.
The findings presented here paint a picture of a vibrant musical community, standing out in its
region and era for its distinctive offering. The musical traditions of Wimborne Minster recovered
swiftly from the depredations of the puritan era, and continued with vigour through the
eighteenth century, when cathedral music was often neglected. Whilst the rest of Dorset and the
wider West Country lived on a diet of metrical psalms and church bands, the Minster alone
enjoyed a fully choral style of service. The roots of this lay in the historic support of the Governors
of the Minster, who displayed consistent support for the musical institution.
This relative isolation led to a distinctive pattern of choir membership, with strong family links
being seen over long periods. This research demonstrates that the adult members of the choir
were almost exclusively former choristers, and many choristers were sons of the older singers.
The makeup of the choir consisted of the ‘middling sort’, merchants and craftsmen for whom the
choir was useful additional income as well as affording social standing in the town. The children of
this class benefitted from the education and income the choir provided.
The detailed picture of the age profile of the choir that has been built up from the richness of the
records, and their centralisation on the Minster, shows longer periods in the choir and an older
average age than is found in the present day. This in part explains the ability of a choir to function
with four singing boys, the oldest of whom would have had considerable experience.
This study, whilst focussed on the mid-18th century, also investigates the composition of the choir
to the middle of the 19th. This timeframe approaches a significant shift in the musical provision of
the Minster. In the latter half of the 19th century the choir expanded in size considerably, greatly
changing in character. The shift from the professionalism of the earlier choir to the larger, more
inclusive nature of the later group, and how it fell more closely into line with national trends,
could provide fertile ground for investigation.
Although findings show that the membership of the choir was very largely locally sourced, this
was generally not the case with the organists. They brought experience from Salisbury and
Winchester or, in the case of George Combes, gained it in Bristol later in his career. This outside
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influence may be considered a factor in the diverse and often challenging repertoire found in the
Minster partbooks, which supports the assertion that the choir was operating at a high level.
While the distinctiveness of Wimborne’s offering has been stressed, it is clearly part of a wider
musical world, and its vibrancy at this period must contribute to a judgement on the state of
liturgical music more widely.
The detailed examination of the music collection held in the Chained Library has brought out
details of dating and kinship that begin to bring order to a distinctively disorderly collection. This
is the result of very many years of practical use, and provides a fascinating insight into the
performing and liturgical life of an institution. A sense of the relationships between books is
essential in approaching an edition of the works contained uniquely in them, and informs the
edition of the works of Combes presented here.
A number of details examined here remain elusive. The precise usage of the modified form of the
Sanctus is a prime example of this. The appearance of settings of this type in the Wimborne books
is distinctive, but a wider usage is indicated by the appendix to Boyce’s Cathedral Music, Volume
III, and by the ordering of movements in Novello’s Cathedral Choir Book. A focussed study
bringing in manuscripts from more sources would be needed to resolve this issue. Another is the
place that metrical psalms played within the largely cathedral style liturgy of Wimborne. The
dedicated books of metrical psalms in the Chained Library offer a window into the development
of hymnody from its origins in psalm settings that would benefit from further study.
An essential piece of work that should be undertaken is the revision of the catalogue of the
Chained Library music. This thesis has highlighted a number of issues with the work, and identified
several previously unidentified copyings of George Combes. A comprehensive overhaul of the
catalogue would allow further uncovering of items lost to anonymity and the adjustment of
inaccuracies and imprecisions. It could also be made more accessible for the digital age.
This review could also be coupled to a digitisation of the archive, and a suitably formatted
catalogue would be an essential part of making a digitised collection. This would allow easier
scholarly access without damage to the fragile items in the collection. Furthermore, at the
moment the storage conditions of the music are far from ideal and, whilst they are housed in the
Minster, they are not readily available to the community. Moving the books to a more suitable
facility such as the Dorset History Centre (which holds the extensive archives of the Minster),
whilst producing accessible digital copies would solve several problems. The books would be
safely conserved, and scholars who need physical access could view them in a suitable, dedicated
environment. The facilities available in such a place would allow a more detailed physical
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examination of the books. The availability of digital images would allow open access to the wider
public, permitting greater engagement with the heritage of the Minster than is currently possible.
These varied ways of approaching the musical tradition of Wimborne Minster all inform an
appraisal of the central composer of this thesis, George Combes. He was a man of evident ability
as a performer, as demonstrated by his employment at Bristol Cathedral. His legacy as a
composer lives on in the active repertoire of the Minster. He has left a varied and singable corpus
of works, admirably fitted to the liturgical usage of the church. It provides further evidence of the
capabilities of the choir under his leadership, as the demands placed on singers, the soloists in
particular, are not slight.
The variants discussed in the Critical Commentary of the works of Combes show patterns of
revision and adaption. Some of these are performance aspects that may have emerged through
practical experience and the input of his singers. Some are wholescale reworkings of pieces,
demonstrating greater maturity in harmonic writing and in structure. Some involve simple
tightening of part writing. It is quite possible that some of these did not originate from George
Combes himself, but were instigated by his son Richard in his extensive copyings after his father’s
final departure to Bristol. However, they represent an ongoing performance tradition which had
been nurtured by George Combes, and have value to the modern performer approaching these
works.
If the dates given in the biography of Combes are correct, he started work at the Minster as a
young man, and gained further experience in Bristol before returning for a second period in
Wimborne, having never completely lost touch. It is quite plausible that his sojourn in a major
centre, and the contact with other musicians that this afforded, helped him in his compositional
development. Without more certain dating of the manuscripts there will always be a certain
amount of conjecture in that judgement, however.
What is clear, however, is that the concert life of Wimborne was considerably enriched after
George’s return from Bristol. The annual celebrations of the Friendly Society of Wimborne
Minster had always been musical affairs, and an opportunity for the gentry of the area to gather,
but their content was relatively humble, with a strong element of the home-grown. From 1760
they took on much more of the character of the musical festivals of larger centres such as
Salisbury, Winchester and Bristol. Handel oratorios became a fixture, and instrumentalists and
soloists were engaged from a wide area. This highlights the centrality of church musicians to the
growing concert and wider cultural life of 18th century England. That George Combes as an
individual was integral to this development is indicated by its apparent demise after his final
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departure. He must therefore be credited with developing and enhancing a unique musical
institution, standing alone as an island of cathedral style music in parochial Dorset.
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Appendix A
Appendix A Musical matters from minutes of meetings

of the Governors of Wimborne Minster
1659 – 1810
The order of entries is as they appear in the book of minutes, a binding of loose sheets of various
sizes.
Illegible words are indicated […]
Abbreviations are expanded by italics in square brackets
The double ff at the starts of words is transcribed as a capital F
The superscript shilling mark is transcribed as s
Dates are given as in the minute book, observing the Old Style (New Year on March 25th) until the
first meeting held with the New Style on 19th January 1753.
Entries starting with ellipses are the first of the meeting, preceded by the standard description of
the Governors
Summaries of long entries are given in italics

25/1/1658
reasserting right to play 3 ministers, 3 clarkes, schoolmaster and usher
[…]/4/1661 The same day Robert Higdon formerly chosen to be one of the Clarkes […] was
confirmed in his sayd place, and was allowed to have Foure pounds a yeare for his
stipend
The same day Nicholas Pope the younger was confirmed to be one of the Clarkes
of the P[ar]ish Church and was allowed the have Forty shillings a yeare for his
stipend.
18/2/1663 This day Mr John Silver formerly chosen to be Organist of the p[ar]ish Church of
Wimborne Minster was confirmed to be Organist there for long as he shall make his
continuall residence in the p[ar]ish of Wimborne Minster aforesaid and shall
performe all such things as are to be performed by an Organist there mentioned in
the Letters made to the […] in that behalf, and shall instruct the Choristers and
Singingmen of the sayd Church in the art and skill of Singing. And the sayd
Governors doe agree to pay unto him for his Salary in that behalf yearely the […] of
two and twenty pounds by the yeare, so long as he shall performe all […]
13/10/1671 The said day & yeare Thomas Browne the younger was elected one of the Clerkes
of the p[ar]ish Church of Wimborne Minster aforesaid in the Roome & place of
Nickolas Pope the younger deceased during our will and pleasure
The said day & yeare John Willis was elected one of the singingmen of the
aforesaid p[ar]ish Church of Wimborne Minster during our will and pleasure
The said day & yeare Christopher Shipton the younger was elected one of the
singing Boyes of the aforesaid p[ar]ish Church of Wimborne Minster during our will
and pleasure
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Appendix A
15/6/1672 The said day & yeare Henry Pope was elected one of the Clerks of the p[ar]ish
Church of Wimborne Minster aforesaid in the roome & place of Nickolas Pope […]
During our will & pleasure
The said day & yeare Richard Thedham was elected one of the Singingmen of the
aforesaid p[ar]ish Church of Wimborne Minster during our will and pleasure
The said day & yeare Richard Browne Jun[io]r was elected one of the Choresters of
the aforesaid p[ar]ish Church of Wimborne Minster during our will and pleasure
23/4/1673 ..doe elect & chuse Joseph Oakes a Singingman of the p[ar]ish Church of
Wimborne Minster aforesaid & to have St Thomas quarter last; during our wills and
pleasures
The said day and yeare Augustus Smallwell was elected on of the Singingmen of
the aforesaid p[ar]ish Church of Wimborne Minster during our will & pleasure & to
have Lady Days Salary last
23/4/1677 The said day and year John Silver junr was elected one of the Singing Boys of the
p[ar]ish Church of Wimborne Minster in the Roome & pllace of Francis Browne
during our will and pleasure.
19/9/1681 ..nominate elect and chuse John Willis of Wimborne Minster aforesaid to be one of
the Clarkes of the p[ar]ish Church of Wimborne Minster aforesaid in the Roome and
place of Henry Pope Deceased during our will and pleasure.
The said day and yeare above written the said Governors do nominate elect and
chuse Jeffrey Harvey of Hampreston to be one of the Singingmen of the p[ar]ish
Church of Wimborne Minster aforesaid in the Roome and place of John Willis during
our will and pleasure.
11/9/1682 ..do nominate, elect and chuse Christopher Shipton the younger of Wimbourne
Minster to be one of the Clarkes of the p[ar]ish Church of Wimbourne Minster
aforesaid in the roome and place of Robert Higdon deceased during our will and
pleasure.
28/3/1684 ..do nominate elect and chuse Robert Higdon to be one of the Singingmen of the
p[ar]ish Church of Wimborne Minster aforesaid in the roome and place of Nicholas
Chedaw during our will and pleasure
The said day and yeare the said Governors do elect & chuse Henry Gould to be one
other of the Singingmen in the roome and place of William Hill during our will and
pleasure
And it was agreed then and also ordered that 6s 8d a quarter shall be added to the
Sallarys of the three Singingmen and 3s 4d a quarter to be added to the Sallarys of
each Singing Boy during the Wills & pleasures of the said Governors. And if any of
those neglect his duties shall Forfeit loose and pay each of them for each time […]
17/8/1688 Also the said Governors doe hereby elect and choose Robt Higdon to be Reading
or Secondary Clerke in the roome of Thomas Browne
Also the said Governors doe hereby elect elect and choose James Purchase to be
one of the Singing Men in the roome of the said Robt Higdon now made one of the
Clerkes aforesaid
Also the said Governors doe hereby elect choose John Franklyn to be one of the
Singing boyes in the roome of James Purchase now made Singing Man as
aforesaid
Mem[oran]dum that all those Elections are only during the wills and pleasures of the
said Governors and noe longer. And the several persons elected are to have and
receive the accustomed Sallarys allowed by the said Governors.
21/12/1688 Also Edward Guy was chosen one of the Singing boys in the roome and place of
Nicholas Bolter […] who lately run away
21/10/1691 Henry Silver, son of John Silver was then elected one of the Singing boys in the
roome & place of Edward Guy lately removed
John Willis the Son of John Willis was then elected one of the Singing boys in the
roome & place of John Brown lately removed
21/12/1693 This day Mr John Silver organist surrendered his patent for the said office during his
life at the Sallary of £22 per Annum and he is now rechosen into the said office
under the same sallary during our wills and pleasures and noe longer.
21/12/1692 Mr Silver is allowed to receive the Quarters Sallary due this day
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Appendix A
10/9/1694 Henry Gould was elected one of the Reading Clarkes of Wimborne Church in the
Roome & place of Robt Higden lately dec.d during our wills and pleasures.
Samuel Harvey was elected one of the Singingmen of the said Church in ye roome
& place of Henry Gould now chosen one of the reading Clarkes during our wills &
pleasures
14/10/1695 Ordered that Mr Geo: Day our organist have an allowance of forty shillings [per
annum] added to his Sallary of two and twenty pounds [per annum] soe that for ye
future he shall be allowed four and twenty pounds a yeare during our pleasures
payable quarterly.
23/12/1696 William Hazard of Wimborne Minster is chosen one of our Singing Men during our
pleasures only, in the roome & place of Jeoffery Harvey lately dec[eased]d
21/12/1697 Ordered likewise that an order made the 25th April last about the Clerkes Singing
Men and boyes be for the future duly observed otherwise the penalty to be stopt out
of their Sallaries as in the said order is expressed. And if the organist neglect his
duty he is to pay 6s 8p for every default.
10/10/1698
arrears of salaries to be paid
Ordered that Mr Day doe at every meeting for the future give us an acc[oun]t of the
absence or other neglect of the Duties of all and every of the Clerks Singingmen &
boys belonging to our Church to the intent they may be punished according to an
order made the 25th of April 1697
Ordered that John ye son of John Willis be discharged from being one of the
Singing boys & that William the son of Wm King doe succeede him as from
Mich[aelm]as last
[…]/11/1699 In pursuance of an order made last meeting that Mr Day should give us an acc[oun]t
of the absence and other neglect of the several Clerkes Singingmen and boys the
said Mr Day doth now give us this
The said Mr Day doth now give us this acc[oun]t following.

That John Willis one of the Clerkes has been absent 5 times […] At 3s 4d a time is
16 s 8d
That Christopher Shipton another of the Clerkes has been absent 11 times […] Is -
1-16-8
That James Purchase one of ye Singingmen hath been absent 32 times at 1s a time
is -1-12-0
That Sam Harvey another of ye Singingmen hath been absent 4 times - 4s
That Will Hazard another of ye Singingmen hath been absent 22 times 1:2:0
Wee having formally examined the above mentioned ? And they having severally
confessed themselves guilty though not soo often as they are accused off do now
order that the Receiver for this present yeare doo stopp back out of the severall
sallaries of the ? abovenamed the one half of the abovementioned forfeiture
And we doe now order that the order made the 25th of April 1697 be a standing
order for the future.
Att this meeting James Purchase was elected Clerke during our pleasures in the
roome and place of Henry Gould dec[ease]d
Att this meeting John Willis jun[ior] was elected Singingman during our pleasures in
the roome and place of James Purchase removed to be one of the Clerks
21/12/1704 Upon complaint made by Mr Swan & Mr Day that the Clerkes - Singing men and
boys are very negligent in their respective duties on Sunday & holy days (later
underlined), its now ordered that Mr Day keepe ? Of the severall Defaulters for the
time to ? And at the next meeting make his Report; ? that every ?failing in his Duty
shall for every offence forfeit the sum as following to be Stopt out of their respective
Sallaries viz. Each Clerk 3 shillings, 3 pence, each Singing Man 2 shillings, each
boy 1 shilling.
Its now ordered that Mr Day keepe acc[ount]t of the severall Defaulters for the time
to […] and at the next meeting make his Report; […] that every person failing in his
Duty shall for every offence forfeit the sum as following to be Stopt out of their
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Appendix A
respective Sallaries viz. Each Clerk 3 shillings, 3 pence, each Singing Man 2
shillings, and each singing boy 1 shilling.
10/6/1708 That Mr Day be paid the yeares Sallary w[hi]ch will be due to a boys place at
Midsomer next vacant by the removall of James Fabeau for the said Mr Day's
extraordinary paines & charge in […] Musick for the Church.
And we doe now elect and chuse Roger Tilsed jun to be one of the Singing boys in
the roome and place of the said James Fabeau, and his Sallary to commence from
Midsomer next
4/10/1709 It was ordered that from Mich[aelm]as Day last the three Clerkes Sallarys be
advanced from 6:6:8 to eight pounds per annum and the three singingmen from four
pounds to five pounds per annum and the four singing boys from forty shillings to
fifty shillings per annum and that the Receiver pay them accordingly.
22/11/1710 Att this meeting William Jubbery was elected and chosen a Singing Boy in the
Roome and place of Roger Tilsed who is gone to Sea, and his Sallary is to
commence from Mich[alem]as Last
Ordered that Mr Day be allowed 25s for the last half years Sallary of the said Tilsed
(because he left the service at our Lady Day last) in Consideration Mr Day is to prick
out two new service books for the Singing boys.
21/11/1711 Att this meeting James Gill one of the Singing Boys was elected and chosen a
Singing Man in the roome and place of John Willis lately dec'd and his Sallary to
commence from Michas day last past
And whereas John Willis dyed before our Lady Day so that there is 50s due at
Michas last for half a yeare for a Singing Mans place of which we order 20s to Mr
Day for his […] in teaching the boys, and twenty shillings to Roger Gill who is now
sitting for a Singing boys place, & ten shillings to Jeremiah Farrar to teach the said
Roger and John Barnes who is (now chosen a Singing boy in the roome of James
Gill) for to teach them to write.
Ordered that the organ be repaired not exceeding Twenty pounds & Mr R Russell
Mr Wm Russell & Mr Ansty to take care it be done.
22/12/1712 Att this meeting Roger Gill was elected and chosen one of the Singing Boys in the
roome and place of Nicholas Watten who is now discharged from the same place by
reason his voyce is broke and thereby rendered incapable of doing his Duty And the
said Roger is to receive the Sallary of a Singing Boy from this day.
15/10/1713 Ordered the Receiver to pay 12s 6d for a Quarters Sallary due to Roger Gill at our
Lady Day last to the Exe[cuto]rs of Mr Day the Organist who instructed him.
Att this meeting Mr John Fyler was chosen organist during our pleasures in the
room of Mr Day dec[ease]d and his Sallary of 25 pound to commence from our Lady
Day last
Ordered that Mrs Day Ex[ecutri]x of her late husband be paid forty 3s for her said
husbands books of the Church service for the Organ they being bought and prickt at
his charge & there being none belonging to the Church before.
13/9/1714 Ordered that the Dep[u]ty Receiver when he pays the three reading Clerks their
Sallarys at Michas next do stop out of their sallaries five shillings each and pay the
same to Tho: Moones that performed their Duty at Holt Chappell this year past
This order to continue good from half yeare to half yeare till further order. after the
rate of five shillings each per annum
21/12/1715 Ordered that Wm Jubbers one of the Singing Boys whose voice is broke be
discharged from this day and that A[…] Thomas doe succeed him in the said place
& his sallary doe commence from this day
21/12/1717 Ordered that the use of the two seats late Mr Ettricks be allowed to the Organist
during our pleasures for his Friends to sitt in without prejudicing our owne right of
sitting therein if either of Us thinks fitt.
22/12/1718 William Bezar was elected and chosen a Singing Boy in the roome of John Gill
whose voice is broke and so incapable of performing the service any longer
25/9/1719 Att this meeting Roger Willis was elected and chosen one of the Clerks of this
p[ar]ish In the Roome and place of John Willis his Father lately dead.
Att this meeting John Gill was likewise elected and chosen one of the Singing Men
of Wimborne Church in the Roome and place of the abovenamed Roger Willis
Att this meeting likewise John Willis Son of the s[ai]d Roger Willis was chosen one
of the Singing Boys in the Roome and place of John Barnes
236
Appendix A
17/6/1720 179 William King the younger was elected and chosen one of the Singing Men of
Wimbourne […] in the roome and place of Sam.l Harvey lately dec[eased]d to
continue in the said place during our wills and pleasures and his Sallary to
commence from Midsummerday next
21/12/1720 Christopher Meader Was elected and chosen one of the Singing Boys in the roome
and place of Arthur Thomas
25/9/1722 Will Thorne was this day elected and chosen to be one of the Singing Boys in the
Roome and place of Roger Gill
19/3/1725 Nicholas son of Francis Russell, John son of Henry Harwood & Thomas son of
Thomas Barwood were at the same time chosen Singing Boys
21/12/1727 Thomas Barfoot is appointed to do the Duty of the Clarkes at Holt Chapple and the
Receiver is to deduct 16s per annum Out of the three Clarkes Salary for his
allowance.
21/12/1728 At this meeting James King was elected and chosen one of the Singing Boys in the
room and place of John Willis
5/3/1729 Att this meeting Wm King - - was elected and chosen to be one of the three Clerks
in the room & place of James Purchas lately dec[ease]d and he having performed
the Duty his Sallary to Commence from Lady Day last
Roger Gill -"- was also elected and chosen to be one of the three Singingmen in the
room and place of the said W.m King
21/12/1731 At this meeting Roger Son of Roger Willis and Reuben Son of John Gill were
elected and chosen two of the Singing Boys in the room of John Harwood &
Thomas Harwood
At this last meeting Wm Willis Son of Roger Willis was also chosen one of the
Singing Boys in the room of Nicholas Russell
Mr Parsons having added a new stop to the Chair Organ and other Extraordinary
Repairs thereto, we agree to allow him his Expenses during his Stay here.
21/12/1732 James Gill was chosen to be one of the three Clerks in the room and place of Roger
Willis Dec'd
21/12/1734 James King was chosen into the Singingmans place now vacant and his Salary (as
such) to commence from this day
21/12/1741 John Gill is elected and chosen one of the Parish Clerks in the Room and Place of
Christopher Shipton dec[ease]d and his salary to commence from Mich[aelm]as
Last
Roger Willis is also elected and chosen Singingman in the room and place of the
said John Gill
Rob.t Gill was elected and chosen one of the Singing Boys in the room and place of
Reuben Gill who is now displaced
Robert Grey is also elected and chosen one of the said Singing Boys in the room
and place of Roger Willis removed
21/12/1742 At the same time John Tilsed son of Tho.s Tilsed was chosen one of the Singing
Boys in the Room and place of Thomas Willis
21/12/1743 At the same time John Mitchell was elected and chosen to be one of the singing
boys in the Room and place of Thomas Gill
6/1/1743 A this meeting Mr George Combes was chosen Organist during our pleasures in the
Room of John Fyler dec[ease]d and his salary of £25 per annum to commence from
St Thomas' Day last past
20/12/1744 George Oakley Son of Thomas Oakley was chosen one of the Singing Boys in the
Room and Place of Robert Grey and his Salary to commence midsummer last
11/3/1747 Peter Fabian son of William Fabian was chosen one of the singing boys in the
Room and Place of Robert Gill and his salary to commence from St Thomas' day
last
179
The date 1720 could also be read as 1710, with incorrect binding of sheets – the paper containing this
entry is smaller than the surrounding sheets. Either date is plausible for the careers involved.
237
Appendix A
21/12/1748 Richard Combes son of Mr George Combes our Organist was chosen one of the
singing boys in the room and place of John Tilsed who is now discharged
21/12/1751 John son of Joseph King was chosen to be one of the singing boys in the room and
place of John Mitchell and his salary to commence from Lady Day last
22/12/1755 William Thorne, son of Wm Thorne of Pamphill, was chosen to be one of the singing
boys in the room and place of Richard Combes, son of our Organist who is now
discharged
5/2/1757 At this meeting Charles Willis son of Roger Willis cooper one of our singing men,
was elected and chosen to be one of the Singing Boys, in the room and place of
Peter Fabian, who is now discharged, and his salary to commence from St
Tho[ma]s' day last
17/1/1759 At this meeting John Harvey Willis, Son of Roger Willis, one of our singingmen, and
John Oakley, son of Richard Oakley, were chosen singing boys in the rooms &
places of Richard Oakley, son of Thomas Oakley, and John Coombes, son of Mr
Geo: Combes, our organist; and their Salaries to commence from St Tho[ma]s' day
last
21/12/1761 Thomas Drewitt son of Mr Sacheverell Drewit is chosen one of the Choristers in the
Room and place of Richard Oakley who is now discharged; and his salary to
commence from this day
21/12/1763 Rich.d Austen, son of Mr Wm Austen our Register is appointed one of our choristers
in the room and place of Wm Thorne whose voice is broken
31/1/1764 At the same meeting George Oakley of Wimborne Minster afores[ai]d was Elected
and chosen into the Singing Man’s place now vacant by the Death of Roger Willis
lately deceased, and his salary (as such) to commence from St Thomas Day last
past and to continue singing man during our pleasures
21/12/1764 James King Singing Man is elected & chosen to be one of the Clerks of this Church
during our Pleasures, and his Salary, as Clerk, to commence from Micha[elma]s
Last, and as he has officiated as Clerk since the Death of Wm King his Father, we
direct that he shall receive the Salary as Clerk from the Quarter Day next after his
Father's Death.
Richard Oakley is elected and chosen Singingman in the Room and place of James
King now elected one of the Clerks
Ordered that new movable desks be made for the Singing Boys: to be separated
and inclosed to […] free from interruption, from all other persons whatsoever 180
Ordered that the Organist do instruct the Singing Boys every Monday Morning &
Saturday afternoon, & that he and all the Choir attend the service of the Church {on
Sts Days and} every Saturday at Evening Prayer 181
21/12/1765 Mr Richard Combes Son of Mr George Combes - our late Organist (who has lately
quitted our Service & his place here & is chosen Organist at Bristol) is at this
Meeting elected our Organist here, in the Room of his Father, - under the usual
Salary of 25L per annum to commence from this Day & to continue as such, during
our pleasure.
Robert Thacker is chosen one of the choristers of this Church in the room and place
of John Oakley who is discharged as unfit, and his salary to commence from this
Day.
22/12/1766 John Harvey Willis late one of the Choristers of this Church is elected and chosen to
be one of the singing men of this Church in the room of George Oakley who has
resigned
James Oakley, George Dike and Edward Lambert are chosen and elected to be
three of the Choristers of this Church in the room of the s.d John Harvey Willis,
Thomas Druitt & Richard Austen, whose voices are broken.
21/12/1767 Ordered that Wm Thorne and Isaac Hooper the two Candidates for the place of
Singing Man in this Church, now vacant by the Death of Roger Gill late
Singing=Man thereof, shall both have Liberty to Sing in this Church & be in a State
of Probation for the space of one year from this Day, and then such person of those
180
The word ‘moveable’ has been inserted, in the same hand and ink
181
Words in brackets inserted in different ink
238
Appendix A
two Candidates which shall be by us thought best & fittest for filling up the place of
Singingman, shall at the then next Meeting of this Corporation be chosen Singing
Man in the room of the sd Roger Gill and be entitled to be paid the year's Salary as
Singing=men, to be accounted from this Day
4/1/1769 At this Meeting George Chorrett (son of Susanna Chorrett Widow) and Joseph
Hookey (Nephew of Mr John Snook) are chosen and Elected Choristers of this
Church and added to the Number of Choristers already belonging to the Same - &
their salary to commence from Saint Tho.s Day last.
Ordered that Isaac Hooper, a Candidate for a Singing Mans place, do attend our
Organist Mr Combes twice a week to be instructed in Singing the Services of the
Church until St Thomas Day next, when, if approved of by us as capable he is to be
chosen Singing Man of this Church. But his year's Salary to that time is to be paid to
our said Organist for his trouble in instructing and qualifying him for such place. But
if disapproved of and rejected as incapable - Then our Organist to have such
satisfaction only, as we shall think proper.
Ordered that our s[ai]d Organist do buy, for the use of the church a Sett of new
Singing Books and do write over the usu[a]l Church Services therein, at and after
the Rate of Ten pence per Sheet for the Same-
21/12/1769 At this meeting Isaac Hooper (late in a state of Probation for the place of
Singing=man) is now elected and chosen to be one of our Singing=men of this
Church of Wimborne,
Thomas Oliver (apprentice To Ja.s King, one of the Clarks) is now elected & chosen
to be one of the Choristers of this Church in the room of Joseph Hookey who is
gone out of the parish
Ordered also that […] Clarks Singing=men & Choristers do always constantly &
regularly attend the publick Services of this Church on pain of forfeiting & paying out
of their respective Salaries such Sum or Sums […] for every Default or Absence, as
ye Majority of thier Corporation shall think fitt - and that a Book be kept ye vestry of
this Church for ye officiating Minister to enter in ye names of all such persons so
making Default, as often as […] shall so happen.
21/12/1770 At the same meeting John Harvey Willis one of our Singing Men was elected and
chosen to be one of the Clarks of this Church during our pleasures & his Salary as
Clerk to commence From this Day in the room of Roger Gill dec'd - and his Salary is
to commence from this Day. & as he has already officiated as one of our s{ai}d
Clerks ever since the Death of James Gill our late Clerk, we order that he shall
receive ye salary as Clerk from the time of ye Death of the s{ai}d James Gill
This entry is crossed out
At the same time Mr John Combes is elected and chosen to be one of the Singing
Men of this Church of Wimborne {during our pleasure} in ye Room of ye s{ai}d John
Harvey Willis, now one of the Clarks thereof & his Salary is to commence from this
Day
21/12/1771 It is ordered that no person whatsoever do for the Future presume to sit in the stalls
of the choir of Wimborne Church, either above of below the Clerks and Singingmen,
(except the Gentlemen of the Corporation only) And that notice be thereof given
tomorrow after the morning and after noon service accordingly, by the Clerk in […],
And that James Fabian be ordered to put out of the Choir, and such person or
persons so offending
It is also ordered that James King one of our Clerks be paid, by our Deputy Rec.r
the whole Salaries of the two Dec'd Clarks, now remaining due to their
representatives respectively from the first Quarter after their Deaths […] to old
Mich{aelm}as past, He having Officiated and performed the Duty of Clark ever
since the Death of the other two Clerks – and also ordered that the s{ai}d Ja{me}s
King shall receive the s{ai}d salary […] to this day.
Mr George Oakley, late one of our Singing Men, is elected & chosen to be one of
the Clarks of this Church during our Pleasure in the room of James Gill and that his
salary do commence from this day accordingly, under ye usual allowances.
21/1/1773 At the same meeting George Matthews of the City of Winchester is elected and
chosen to be one of the Clarks of this Church during our pleasures, & his salary, as
Clark is to commence from St Thomas Day last past
George Hanniford And Wm Thorne are at this Meeting also elected and chosen into
the two Singing Man's places now vacant and their Salarys as such are to
commence from St Thomas Day last past and are to continue Singing Men during
239
Appendix A
our Pleasure only
Ordered that the same George Hanniford be paid by our Deputy Rec.r his Salary as
Clark during all the time he has officiated as such in this Church
29/9/1773 At this meeting also William Thorne of Wimborne Minster is Elected and Chosen to
be one of the Clerks of this Church during our pleasures and his Salary to
Commence from Mich{alem}as Day this Instant
21/12/1773 At this meeting George Cherrett and Tho.s Oliver is Chosen and Elected two
Singingmen in the Room and place of George Oakley & George Hanniford who has
resigned during our Wills and pleasure.
And at the same Meeting James Hardey John Hiscock & John Harvey is Elected in
the room and places of the s{ai}d Oliver Cherett & Dyke
21/12/1776 At this meeting John Harvey Willis of Wimborn Minster aforesaid is elected and
chosen to be one of the Clerks of Wimborn Church in the room and place of Robert
Mathews during our wills and pleasure and his Salary to commence from
Mich{alem}as last
Also at this meeting Daniel Dooson And Robert Harvey are elected and chosen to
be two of the Choristers of the said Church in the room and places of John Dooson
and James Harvey during our wills and pleasure and their salarys are to commence
from this day.
21/12/1778 At this Meeting Richard Tory and William Mitchell are elected as two additional
Choristers in Wimborn Church and their Salarys are to commence from Midsummer
last past
21/12/1780 At this meeting Charles Tory and Edward Hart Are Elected Choristers into Wimborn
Church in the room of William Hiscock and Charles Harvey
Order'd that John Dooson and W.m Hiscock are to stand as Singingmen for one
year in a state of Probation under the usual salary
1/5/1781 At this meeting George Cherrett is elected and chosen one of the Clerks of
Wimborn Church in the room and place of John Harvey Willis
21/12/1781 At this Meeting John Dooson & William Hiscock are elected Singingmen into the
choir of this Church under the usual Salarys during our wills and pleasure
21/12/1782 At this meeting William Mitchell a Chorister of this Church is dismissed on account
of his voice being broken
22/12/1783 At this Meeting Isaac Joy is chosen a Chorister in this Church in the room and place
of Daniel Dooson whose voice is broke
21/12/1784 Also at this meeting John Matchem Rich.d Poiter And Will.m Jolly are elected
Choristers in Wimbourn Church in the Room and place of Rich.d Tory, Charles Tory
and Samuel Joy
21/12/1785 John Bossant is chosen Chorister in Wimbourn Church in the room and place of
Edward Hart
It is agreed at this Meeting that if any Clerk or Singingman shall neglect doing his
Duty in the regular service of the Church that he shall be […] out of his regular
salary Sixpence a time for each neglect and amount of which, the Official has
undertaken to furnish us with.
20/12/1787 John Lacey James Lambert and Rich.d Poulter three Choristers of this Church
resigned and Rich.d Reekes John Reekes and John Church are chosen Choristers
in their room and places during our pleasures
22/12/1788 John Harvey is Elected Singingman into the Choir of Wimbourn Church in the room
and place of John Hiscock who has resigned and Thomas Elms is elected as a
Choirester in the room of John Matcham who has also resigned
21/12/1789 Henry Lacey is Elected Singingman into the Choir of Wimbour Church in the room
and place of James King deceased and John Harvey is chosen in the room and
place of the said James King
30/3/1790 It is ordered that the receiver do pay unto Mr. Seed his salary of five pounds for
keeping the Organ in Tune and repair for the present year
21/12/1790 Richard Reynolds and John Reeks are elected Choiresters in Wimbourn Church in
the room of John Boyant and William Jolly whose voices are broken.
Also Charles Dyke and Thomas Drew are elected Choiresters in the said Church in
the room and places of Samuel Elms and Richard Reeks who have resigned.
240
Appendix A
Henry Lacey who was elected a Singingman last Saint Thomas's Day for one year
is now Dismissed on Mr Coombes' opinion of his not being competent to that
appointment.
Edward Hart is Elected a Singingman in the said Church for one year in the place of
the said Henry Lacey
21/12/1791 It is ordered that the receiver do pay unto Mr. Seed his salary of five pounds for
keeping the Organ in Tune and repair for the present year
9/4/1793 It is agreed at this Meeting that if any Clerk or Singingman shall neglect doing his
Duty in the regular service of the Church that he shall be […] out of his regular
salary Sixpence a time for each neglect and it is requested of the Officiating
Clergyman that they will be so good as to keep an account of the Defaulters and to
deliver the same to the Receiver
21/12/1793 It is agreed that John North shall attend the choir as a Singingman for the ensuing
year and if he shall at the end of the year be thought competent to that place he
shall be paid the usual salary and then be Elected and chosen a Singingman into
this Church but if he should not be approved of he shall have no compensation
whatever
John Hooper William Painter and James Hooper are Elected Choristers into this
Church in the room and places of Thomas Drew Richard Reynolds and John
Church whose voices are broken
Also at this meeting Edward Hart is Dismissed as a Singingman he having been
tried three years and found incompetent to that appointment
22/12/1794 It is agreed that John North a Probationer for a Singingman in this Church is
Dismissed as being incompetent to such an appointment
John Warland is elected a Chorister into this Church in the room and place of
William Reeks who has resigned
Whereas the Duty of the Organist hath been for some time past much neglected
through the indisposition of Mr Combes both in the service of the Church and in the
Instruction of the Singingmen and Choristers
It is therefore Ordered that Mr Combes be acquainted that it is the desire of this
Corporation that he do in future provide a proper person to Assist him in the
Execution of his Office as Organist if he should continue incapable of discharging
the Duties of it himself - and the Register is desired to deliver a Copy of this order to
Mr Combes
21/12/1795 It is ordered that the Receiver do pay unto John North the Sum of Five pounds as a
Compensation for his having stood as a Probationer for a Singingman's Place for
the last two years
21/12/1796 Samuel French is chosen a Choirester into this Church in the place of James
Hooper who has resigned.
21/12/1797 It is agreed that if Mr Coombes's Infirmitys shall continue until the next Easter
Meeting, and he shall not adopt some proper measures for having his Duty as
Organist regularly and duly performed to the Satisfaction of the Governors that they
will then proceed to the Election of a new Organist and a Copy of this Order is
directed to be sent to Mr Coombes by the Register
It is agreed that no vacancy in the Choir shall be fill'd up until the duty of the
Organist is better attended to.
9/1/1798 John Butler and William Ayers Are elected Choristers in the room of John Warland
and Charles Dyke
Also William Reekes and Charles Dyke are elected Singing Men upon probation till
St Thomas's Day next
Mr. Combes having notified his resignation of the Place of organist and Mr William
Mitchell having offered to do the Duties of the organist until the next Easter Meeting
of the Corporation such offer is accepted, and it is ordered that the organist's Salary
be paid to Mr. Mitchell from St Thomas's Day last to said meeting
11/4/1798 Mr Leer as Deputy Recr to Sir James Hanham having by mistake paid Samuel
French's Salary for the last year, as one of the Choristers, both to Mr Combes and
to French himself, and Mr Combes being intitled to such Salary, it is ordered that the
present Receiver do call on French for a Repayment of such Salary; and if not
repaid the Receiver is directed to withold French's Salary for the present year.
241
Appendix A
It is ordered that George Chorrett one of the Clerks do on every Saturday previous
to the Sacrament Sundays clean in a decent manner the choir & chancel of the
Church for which he is to be paid one Shilling each time by the Receiver
At this Meeting Mr William Mitchell is elected Organist of the Church during our
pleasure only at the usual salary of twenty five pounds per annum to commence
from St Thomas’s day last.
21/12/1799 William Barfoot is elected a chorister on probation till Saint Thomas’s Day next in
the room and place of John Reeks
5/8/1800 William Reekes is appointed a Clerk of this church upon probation till Saint
Thomas’s Day next under the usual salary
23/12/1800 John Reeks is appointed Singing man of this church on probation till St Thomas’s
day next in room of William Reeks who is now confirmed and chosen one of the
Clerks
John Mitchell is elected a Singing Boy in room of William Painter whose voice is
broke
21/12/1802 A complaint was made against George Chorrett one of the Clerks and Singingmen
for neglect of his Duty at Church
it is therefore resolved that he shall be removed unless he does his Duty in a more
regular manner and obey the orders of the Organist
21/12/1803 George Bobbin John Harvey and James Lacey are elected Singing Boys in the
Room and places of David Butter Samuel French and John Hooper
21/12/1804 James Frampton and James Rulhound are elected Singing Boys in the Room and
places of James Harvey and Robert Ayres
21/12/1805 A Complaint having been made against John Harvey one of the Clerks and Singing
Men of this Church for gross negligence in his Duty he is from this day dismissed
from those offices and Charles Dyke one of the Singing Men in chosen Clerk in his
room
John Clench is elected a Singingman on probation until Saint Thomas’s next in the
room of said John Harvey
David Lewis is chosen Singing Boy in the place of William Barfoot deceased
Isaac Hooper being unable to attend his duty in the line as Singing Man he is
removed from that office and David Butler is chosen on probation in his room.
The duty of the Church having been of late much neglected and several
irregularities committed by the Organist Clerks Singing Men and Boys we do order
that from henceforth for the several offences slated underneath the Sum set
opposite to each shall be forfeited and deducted by the Receiver on payment of the
Salaries
For the Organist quitting the Church on a Sunday between the Commencement and
the end of Divine Service 0 5 0
For each of the Singing Men for the like Offence 0 2 6
For each of the Boys for the like offence 0 1 0

For each of the Clerks non attendance either at the morning or evening services on
a Sunday 0 5 0
For each of the Singing Men (not being a Clerk) for the like offence 0 4 0

For misbehaviour of any kind by either of the men (including the Clerks) during
divine service 0 2 6
For the same offence by either of the Boys 0 1 0

For each of the singing men not being ready to attend the Minster when he quits the
vestry to go into the quire on a Sunday 0 2 6
242
Appendix A

The Organist to keep a regular account in writing of the offences for non attendance
on a Sunday or for not being ready to attend the minister when he quits the vestry
and to render it to the Receiver on Saint Thomas's day yearly or in default thereof a
forfeit
No excuse to be admitted for any of the above forfeiture for non attendance - unless
previously allowed by the Official
The certificate of either the Governors or the Ministers to be conclusive Evidence of
any of the offences
A Copy of these Regulations to be stuck up in the vestry

22/12/1806 James Gray Benjamin North Jun. and Henry Frampton are Elected Singing Boys in
the room and places of David Lewis John Mitchell and John Harvey
21/12/1808 Mr J W Blount is Elected Organist of the Church during our pleasures only under the
usual Salary in the room of Mr William Mitchell who is removed for neglect of duty
It is agreed that the next meeting shall be held on Saturday the 14th of January next
for the purpose of filling up the vacancies in the Choir
14/1/1809
Smith is elected Singing Boy in the room of James Frampton
21/12/1809 George Rulhound is confirmed in his election as Singing Boy and to receive his
salary from Lady Day last and John Crow is elected Singing Boy in the room of
Benjamin North
21/12/1810 James Rolesits and John Rulhound are elected Singing Boys in the room of George
Belben and James Rulhound and George Belben is chosen Singingman in the room
of John Clench and John Mitchell is chosen Singing Boy in the room of John Smith
243
Appendix B Wills
Richard Combes 1736 - PROB 11/677/6
245
246
247
William Combes 1750 - PROB 11/788/250
248
249
Richard Combes 1786 - PROB 11/1368/186
250
251
252
Appendix C Twenty Psalm Tunes
This copy © British Library shelfmark A1231.u.
The front endplate bears the signature of Samuel Wesley
253
254
255
256
257
258
259
260
261
262
263
Bibliography
Bibliography
Primary Manuscript Sources
Wimborne Minster, Chained Library
O9 – O10 Chant partbooks
O11 – O12 Metrical psalm partbooks
O13 – O14 Organ books
O15 – O16 Scores
O17 Score, Judas Maccabeus
O18 – O20 Metrical psalm partbooks
O21 – O22 Organ books
P10 Organ book
P11 – P18 Partbooks
P19 – P20 Scores
P20 – P34 Partbooks
Q22 Score
Dorchester, Dorset History Centre
Wimborne Minster Records
PE-WM/CW/1/42-45 Churchwardens’ accounts 1640 – 1852
PE-WM/CW/2/1 Churchwarden’s bills and receipts, 1752 - 1755
PE-WM/GN/2/1/1 Minutes of Governors’ meetings, 1579 – 1810
PE-WM/GN/2/1/3 Minutes of Governors’ meetings, 1811 – 1852
PE-WM/GN/2/2/5 Appointments of organists, 1610, 1633
PE-WM/GN/3/83-236 Governors’ accounts, 1658 – 1852
265
Bibliography
PE-WM/GM/5/4-8 Governors’ bills and receipts, 1720-1788
PE-WM/OV/1/1-9 Overseers of the poor accounts 1700 – 1836
PE-WM/OV/11/1-196 Apprenticeship indentures 1665 – 1827
PE-WM/RE/1/1-4 Composite registers 1635 – 1813
PE-WM/RE/2/1-2 Christening registers 1813 – 1853
PE-WM/RE/3/1-6 Wedding registers 1754 – 1854
PE-WM/RE/4/1-2 Burial registers 1813 – 1877
PE-WM/TD/1/16/18 Title Deed, 1414
PE-WM/VE/1/1 Vestry Minute Book 1745 - 1808
Other records
D-BKL/A/K/646 Lease of a tenement near Pilsmoor, between Sir Ralph Bankes and
Richard Combe, 10 Sep 1674
Kew, National Archives
PROB 11/677/6 Will of Richard Combes, 1736
PROB 11/788/250 Will of William Combes, 1750
PROB 11/1368/186 Will of Richard Combes, 1786
Salisbury Cathedral Archives
CO/CH/1/3/68 Choristers’ accounts, 1711-1825
CO/VC/1/3/2 The Vicars’ Account Book, 1802
CO/VC/6/1-2 Lay Vicars’ Stipends
Winchester, Hampshire Archives and Local History
DC/B3/3 Winchester Cathedral Chapter Act Book 1660 – 1695
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Newspapers
The Salisbury Journal From 1738, later Salisbury and Winchester Journal
Sherborne Mercury From 1737, later Sherborne and Yeovil Mercury
Websites
Ancestry.co.uk Parish records, census records
Biblegateway.com Multiple translations of the Bible
Britishnewspaperarchive.co.uk Newspapers
Familysearch.org Catalogued parish records
Nationalarchives.gov.uk Various records including wills and census
NPOR.org.uk National Pipe Organ Register
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Anon Orpheus: a collection of Glees by the most admired German Composers London, J. J. Ewer &
co, 1855.
Bathe, William A Briefe Introduction to the Skill of Song : Concerning the Practise, Set Forth by
William Bathe Gentleman. In Which Work Is Set Downe X. Sundry Wayes of 2. Parts in One
Vpon the Plaine Song. Also a Table Newly Added of the Companions of Cleues, How One
Followeth Another for the Naming of Notes: With Other Necessarie Examples, to Further the
Learner. London: Printed by Thomas Este, 1596.
Motte, Benjamin. The Parish-Clerk’s Guide, London, 1709.
Boyce, William. Cathedral Music : Being a Collection in Score of the Most Valuable and Useful
Compositions for That Service. London: Printed for the editor. 3 volumes, 1760, 1768, 1773
Boyce, William. A Collection of Anthems and a Short Service in Score, for 1. 2. 3. 4. 5 and 8 Voices,
Etc. London, Printed for the Widow of the Author, 1790.
Coombes, George. Twenty Psalm Tunes in three Parts, adapted and sung to the new version of the
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University of Southampton Research Repository

Data: Author (Year) Title. URI [dataset]

School of Arts and Humanities

Together with an edition of the works of George Combes

David Matthew Gostick

Thesis for the degree of Doctor of Philosophy

24th May 2023

Table of Contents .......................................................................................................... i

2.1 Sources ....................................................................................................................... 7

2.2.1 Pay ...................................................................................................................... 9

2.3 The Choristers .......................................................................................................... 16

Chapter 3 George Combes and the Friendly Society .................................................. 45

3.1 A Biography of George Combes ............................................................................... 46

3.1.1 A short biography ............................................................................................. 46

Chapter 4 The Music Collection at Wimborne ........................................................... 73

4.1 The Catalogue ........................................................................................................... 73

4.2 An assessment of the collection .............................................................................. 75

4.2.1 Printed sources: O 1-5, 23, P 1-9, Q 19-30....................................................... 78

4.2.6.1 Late group anthems .............................................................................. 88

4.2.7 Aspects of the early partbooks ...................................................................... 107

4.2.7.1 Combes................................................................................................ 107

4.3 Conclusion .............................................................................................................. 116

5.1 Introduction ........................................................................................................... 117

5.4.1 Choral outfit and direction ............................................................................ 123

5.5 Editorial Practice .................................................................................................... 127

5.5.1 Verse and Chorus allocations ......................................................................... 127

5.6 Anthems ................................................................................................................. 131

5.6.1 Sources ........................................................................................................... 131

5.6.2.1 Text ...................................................................................................... 134

5.6.3 Blessed is the Man.......................................................................................... 140

5.6.3.1 Text ...................................................................................................... 140

5.6.4 Give Sentence ................................................................................................. 143

5.6.4.1 Text ...................................................................................................... 143

5.6.4.4 Barring ................................................................................................. 146

5.6.5 I Will Magnify Thee ........................................................................................ 148

5.6.5.1 Text...................................................................................................... 148

5.6.6 The Lord is King .............................................................................................. 152

5.6.6.1 Text...................................................................................................... 152

5.7 Services .................................................................................................................. 157

5.7.1 Sanctus ........................................................................................................... 158

5.7.3.1 Sources ................................................................................................ 165

5.7.4 Sanctus and Kyrie in A .................................................................................... 170

5.7.4.1 Sources ................................................................................................ 170

5.7.5 Cantate Domino and Deus Misereatur in A ................................................... 172

5.7.5.1 Sources ................................................................................................ 172

5.7.5.2 Text ...................................................................................................... 172

5.7.6 Te Deum and Jubilate in D ............................................................................. 176

5.7.6.1 Sources ................................................................................................ 176

5.7.7 Sanctus and Kyrie in D .................................................................................... 182

5.7.7.1 Sources ................................................................................................ 182

5.7.8 Te Deum and Jubilate in E .............................................................................. 184

5.7.8.1 Sources ................................................................................................ 184

5.7.9 Sanctus and Kyrie in E .................................................................................... 188

5.7.9.1 Sources ................................................................................................ 188

5.7.10 Magnificat and Nunc Dimittis in E .................................................................. 190

5.7.10.1 Sources ................................................................................................ 190

5.7.11 Sanctus in F and G .......................................................................................... 194

5.7.12.1 Sources ................................................................................................ 194

5.7.13 Sanctus in G.................................................................................................... 196

5.7.13.1 Sources ................................................................................................ 196