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    8 INSTRUMENTAL MUSIC, 1S75— 1625: MUSICAL LIFE AND THOUGHT [XSTRUMENTAL masseter iy on fin this period, fr exceeding in quaniy the writen surva from the pres cetnflipieecrnns need weg na fon Se ee Tye ete ener esc ei een tm fe ero ‘whale consort’ Spell of viol, retned 1 pre-eminence, there was much experiment with the artistic use of new media, particularly of SL e se oe ee ination of a keyboard instrument (usually the organ) wich others. ee ee ener ean ci ma he mn Seagate ena a ee en pr of i pei se eaten eo dl he Seas ote tar eet he tenor, and bas sts lke the vols, seem to have reached England fom ly during the 1350s or perhaps’ even earlier’ they had four (at first te es RP tl a 1¢ chin, not, like the treble viol, on the lap. In the an deal oat (en tharae oii. e Hinin dng 1 Th Kings Mah 9 59, Bu he ts cater athe bari of Henny VI ‘he cil hiory of the fey i bes temsin.D,D- Boyden, The Hier "990) 1537; Holman in PRU, prpantn tin ain ced het vk happens “yl nd the omen Sons cen es ‘arity indo dao ay 1 of Vain Pa te Og wane, ee Oe "99 09823. 95. A comprehen sy by i Helos INSTRUMENTAL MUSIC, 1975-1625 461 ‘by a consort of volins® and there are references to suck consorts on the title-pages of publications by Holborne and Dowland. When the highest ‘member of the family was intended, it was always specified as the ‘treble violin’, though of course the frequently found word ‘treble’ is ambiguous, perhaps designedly so. After the Restoration of Charles I we find the ‘band Df violins’ used orchestraly in emulation of that of Louis XIV and conform- Sng to its traditional tmings? in which the strings of the bass instrument were B, flat, F, « g. It is not altogether certain that these runings were current in England during the Renaissance, and the practice of combining instruments ftom the violin and viol families may in any case have been widespread. ‘There were also consorts of wind instruments: ‘flutes’ (presumably recorders), hautboys, sackbuts with shawms or comets, and so on. Theit ‘written repertories are small and their precise make-up not always certain, but as to their ubiquity, alone or in combination with instruments from ‘other families, orin support of vocal ensembles, there can be no doubt.* ‘The standard mixed consort of the sixteenth and early seventeenth cent- turies consisted of a transverse flute (che Renaissance flute descending to ‘ds the treble viol, cittem, lute, bandora, and bass viol’ The three plucked instruments provided a simultaneous omamentation of the basic harmonies. Not only was ths consort provided with music to play on its own (uch as the ‘lessons’ of Morley and Rosseter); it could also be wsed to accompany voices, as in Alison's Psalmes of 1599 and Sir William Leighton’s Teares or Lamentations ofa Soroufil Soule (1614). ‘A popular variant of the bass viol from the early seventeenth century ‘onwards was the ‘lyra viol’, with a flatter bridge to facilitate the playing of chords, Its music was usually written in tablatute, like that of the Tute; it could be used on its own, oF in twos or threes, or in combination with other instrament. The ordinary bass viol was also used on its own, either in ensembles fortwo or more (there is even a mid-sixteenth-century pavan {or five ‘basses, or alone for the purpose of playing ‘divisions’ In the sixteenth century it became usual to accompany consorts of viols * Spee ‘violent’ se EH. Meyer, Exiy El Chanter Misc fom de Mle Ae to Pll (Condon, and edn, 9a), 139 (conjecuring sot for "won though wanes): Can, Ber Ison 9 Tie were ie dae by Pier Jame de Feri his pone msl 6 * Ew afvoyel mutans hom the ety 1h cen om ives anode of he recognized caegnes (The King's Ms osm), Manipal eco ae another source (Wood os m Ex St, tio) Sope eco te hee records yer another. The second. hr nd fourth ac of Goble Ise teduced by crore of comet es, and hautboys this by dra (eas ioe) flues (Meyes, ham, loc, ce}. Andew Asbbee's Rent af Engi Court isin coure ‘of pubtenson wil evenly tpenede Lafont lat om 16250. Sec ne XC Someumes the recorder and win were sobuated for he Ate and ble wa epoca "Fandom Bit 13 Roy. App. sf. 3 Ezeh Coot Mii 7 462 INSTRUMENTAL MUSIC, 1575-1625 on the chamber organ; and = repertory of ensemble music for one or two viol, obbligato organ, and bass viol also sprang up. The novelties of the Caroline period wil be considered in the following chapter, but the consort suite for violin, organ, and bass viol was already being cultivated in the ‘eign of James I, by Copraro in particular. ‘The most versitile domestic keyboard instrument was the viginas: the term was used generically, as we do harpsichord, to mean any keyboard instrument in which the strngs are plucked by quills attached to jack, The larger insteuments resembled the later harpsichord in shape, though the finest music of Byrd and Bull was written fora single-manual inserument with a range no wider than C-a",” Inthe seventeenth century the compass was extended downwards to 4,, The smaller viginals was oblong in shape, the strings a right angles to the keys: the downward range usually extended no lower than c! The chamber organ was a descendant of the older ‘pores- tive’ or regal (in England these names were given to instruments of the ‘postive’ type): atypical specification would have been stopped diapason, principal fifteenth, two-rank mixture, and a reed stop. Keyboard instruments were rivalled in popularity by the lute, which could be played from an easily learnt tablature and lent itself to song accom paniment. The six-course Renaissance lnte was enlarged by the addition of one or more bass courses which on certain instruments ran alongnide the fingerboard and sounded only the one specific bass note to which they were tuned.? Apatt from the bas Inte (@uned a fourth lower than the standard “treble” or ‘mean’ lute), there were also the orpharion (tuned as the late and played with a plectrum), che cittern, the gittern, and the bandors, the lasta lower-pitched instrament with wire strings.” All these instruments mi ene em th epee th ‘he te’ in which te pan owe not wis E andthe lowes sx patches (oth he apparent nae following in aches) were aeoeed flows C (8) F(P) DUP) G(G) E(G 8-4 (4) (tc). The ony Baglin vomponee whee Ile neces tht yer wer reser bod tn other words «fourfoor virgin on which muse of extended lower range could be hese smocare higher, Distinction of cave wes not always conideted inperan in Reasance cs in ol ong the ale or emale ange magi be ely vad and on the onan sp of fro could be wed ethers uc or = anh foe son us oft ees og "Ths wer known heorbo-ith te terbo wt # bee, onp cd inrument "For the oration, se Ch. 7, 2. The cite, wiestrang and played with plc, fad fi, oF nen Bat ick, sallow sides and (ony) 5 Tongsh neck intone sol body ‘eh cent. nsramena, lik the one Ire in Thoms Robin's Nav Chow Lesa (oot ugh have as many founeen cues seven eed and seven ie, To mame, cxpaly ‘sede in Eogad, may have been copied by snalogy with “pte the Engh name lore eer and Renasance guitar. The bndora wa ine explitly wntcn fain Bley newbs of oe 0596) te aning was (G)-C-D-Greea (lis not t be confaed wth the manson, & hind sal at, The somencltre ofthe medeval sneer of al thew struments a been ese ‘cited once and fray U. Wah, "The Mev tem and tle: A cue of maken ecagy ‘CSL 0(977.5-42) INSTRUMENTAL MUSIC, 1575-1625 483 could be used alone or in combination with other instruments or with voices; John Dowland even wrote a duet for two players on one lute. ne inst ital “The wien eens convey mshi bt etal fe samen egy ef he chan sean Spc Tae le fr Sn ee Thc tamens weed loge ng ee mo poet rou mel sven ie on Chas seed aed eee tons mewn) compre pinching a Erni or ioc wan pee Dee me ssl tly fart Stet Une macro corm it ememuon o coup no ‘iweb Bp Byrd’s numerous consort hymns and Misereres" do not quite belong welt thn may sg be hb ote sie ee ee se ec wae ch se snl eeene Soe Chie) ma be sou ued we of bios Whe hee eae TERR cmc ty ve rr i oot enon sa nine ier nw ye am eva wai hey he ing Spon pay mine com iBycinitlaann.htneepatooomie en SiC ts enews ind way aoa ne nae se aside overs sng conned rao ended CAeSpRIE pptcnn ofthe lt amony snow Ses he toed nae th ce os ht bw et see Sa ne erent fy compu ea fom cd wae ke scl say ee and art Eat mos show an now em ering ‘but in one case at least, that of the delightful four-part work in G minor fer etic Brad nts al Sg ond Sey, gh ooh am 90 hese of wer mea Pra coET Gear wake ins eee ope er SL lon de he snip exet of boston Tar ecg PuNone of Byrd's five- and six-part consorts necessarily post-dates this four-part work, but the greater potential of the larger forces excited him CRE Set heat apres Two fen needs mere acer ene hemes he Sve end Cran Fon 3 woes nttpeni ns Sreginietaay anes mes eat TPR apr nteiy ono an' dpi at ato. 344 ing ean en ak 484 INSTRUMENTAL MUSIC, 1575-1625 tune known 38 ‘Good night’, and the fine Browning, abo in five part, to the widely popular melody “The leaves be green’. The five-part Fantasia, in C incorporates a canon in its two upper voices throughout, and most effectively quotes another popular tune—Sick, sick, and very sick'—-as part of the canonic structure.” This is a more extended example of 2 tsipartite structure, the middle section being written predominantly in rip- lets. The choice of canonic pitch-interva, the fourth above, means that sequential repetitions one note away in the canonic parts wil tend to create cycles of fifths (real or implied); the cime-interval of six minims tends to dictate the harmonic rhythm. The splendid transition into the third section, illustrates these points (Ex. 174, pp. 465-6). OF Byrd's siccpar fantasias, the first is an immature piece in F, later reworked a8 a motet, ‘Laudate puer’, and inchided in the Cantones Sarae .0f1575, while the two others, both in G minor, are resourceful nd imagina- Live works, probably of the 1s80s. The second of these is the mote serene and balanced, and may therefore be the later of the two as has been suge gested the frst is bold and confident in spite ofa somewhat experimental ote. It consist ofa lengthy duple-time section, agaliad in three repeated strains, and a short but massive coda, There are signs that the coda and even the galliard were an afterthought,” the coda being needed, perhaps, to draw together the disparity created by the juxtaposition of the first and second sections. As for the first section itself, ic is a complex structure in which an imitative opening is succeeded by a succession of more homo= phonic ideas treated antiphonally. This subsection is itself susceptible of a threefold division (marked by clear cadences), and moves at its climax 0 a statement of a familiar theme, ‘Greensleeves', over its romanesca bas ™ ‘The bass is repeated with varied upper part before the masic plunges into the gallard (Ex. 175, p. 467). There is a strong anticipation here of the later ‘consort suite’, a form consisting usually of 2 large (Sometimes triparie) fantasia, two dances, and a unifying coda. In the second G minor work, however, the tendency towards a differentiation between movements is sacrificed in favour of # ‘more unified and, in Renaissance terms, more satisfying structure. Byrd ako wrote a five-part pavan in C minor, later arranged for keyboard,” "The wor were nothing bts spleen to sme lng poem tha hat poe sve “The leaves be ree, the ut be brow, They fang 0 high, they will ot come downs Meer (any El Chonier Mo a) notes consor sets by Jb alsin, Ebay Bevin Dyed, Pros: Newry Stninge and Clement Woodcocke °F Nejpvour, Conon Read Ma 78 1 Neipbour, 86 Nephew 8s. * For thermos see Ch. 5,15: and on Grecsleve in pric J. Wad “And Who ‘Buca Greenest” "The By tion, no. 4; keyboard venon, fom ever sures ia MB, cei. 294 Ex.17%4 INSTRUMENTAL MUSIC, 1575-1625 495 4 continued 466 INSTRUMENTAL MUSIC, 1575-1625 Bx. 174, continued ald dd l= and a six-part pavan and galliard pair in which yet another popular tune, “The woods so wild’, seems to be paraphrased in the second section of the galliard.” Byrd's immediate contemporaries did not remotely achieve his distinction 38 a composer of consort music. Two who might have done so—Rohert Parsons and Robert White—died young and belong effectively to the pre ceding epoch, along with Tallis, Tye, and a host of lesser men whose art ‘was nevertheles sill cultivated by connoiscurs in the later sixteenth and ven in the seventeenth century. A large collection carrying the date 1578" contains arangements of Continental Latin motets, madrigals, and chansons alongside native fancies and plainsong settings. A much later st of part-books in the Bodleian Library” is devoted to In nomines by such figures as Talis, Preston, Thome, and others of the mid-century, alongside similar works by Gibbons, Ward, Bull, and Weelkes. Other, lest eccentric, compilers formed mixed collections of fancies, In nomines, and other types of cans. & The Byl Edo 20. ° Vondan, Bit Lib, Ad. 3990. See Ch... 142 * bs. Sch d ais INSTRUMENTAL MUSIC, 1575-162, 47 468 INSTRUMENTAL MUSIC, 1575-1625 firmus pieces or grounds (uch 25 the Browning), but they often had to be content witha mediocre level of atainment.) oa In marked contrast to this eamest cultivation of serious forms sand Anthony Holbome’s Pavans, Gallas, Almains of 1599." These are de- scribed on the title-page as being for ‘vols, violin, or other Musieall Wind Instruments, a phrase presumably designed (with quite remarkable illogic- ality) (© encourage players of any type of consort instrument to buy the collection. Most of the pieces (about two-thirds, in fat) survive in versions for lute, bandora, or cittern, or indeed for two or even all three of these instruments; and in some cass at least these may represent the original versions. Bu simple dance mie of his kind could obviouly be tanned readily from one medium to another, and a variety of whole consorts or indeed mixed consorts could have adapted the published version to their special needs. The possible social range of such music clearly extended from the politest circles (plucked solo instruments, consort of viols) to pro- fessional music-making including that of own and city waits (mixed consore, violins, and wind instrament). What is fascinating is the culeural unity of. society in which the same music could have such a wide appeal In Holbome's publication, pavans and galliards follow each other in aleer- nation for the first $4 numbers, though in many cases a specific title (Mens innovata’, ‘The funeral’, Muylinda’, ‘My self’, etc.) supersedes the generic indication. (The significance of such titles cannot normally be determined, though a few have been traced to pocms by Spenser and to contemporary. events.) While the detailed construction of these dances is in fact quite varied, the majority of them have three repeated strains in the standard fasion, and in a few at least they are of uniform length in the regular style favoured by Morley (a strine they make to containe 8. 12. oF 16 semibreues as they list ... and looke howe manie foures of semibreucs, you put in the straine of you: pavan, so. many times sixe minimes must you put in the steaine of your galliatd’).¥ In Holborne, this equation 1s not offen maintained (the pavan~galiard pair, numbers 13-14, being a rare exception); nor is the gallard normally ‘a kind of musicke we make out of the other’ (as Morley puts it), a few brief melodic references, as in numbers 37-8, excepted; but the pairs are invariably unified as to key, and the collection as a whole isan invaluable paradigm of the late sixteenth century genre, the principal English prototype of the baroque suite, ‘The publication is rounded off by six almains and five dances apparently intended as corantos. The former are perhaps recognizable as Morley's'‘more Michel Eat a Richard Mico were wo who, erhps, and ou above the gel evel Meyer, Ei Eh Chan Mo 0s; tbe wrk dssased her Romeer begoti flowg See th eon by B. Thomas (Londo 1980). A Pleat tain, INSTRUMENTAL MUSIC, 1575-1625 489 hheauie dance than this’ (the gala) iF one thinks of a minim beat, though lively enough if counted in crotchets, while the latter" are in quick 61 4 time with a good deal of hemiola (3/2); nether is as regular as Mozley’s Jescription again implies, both having ewo or chee strain of variable length. ‘Also published in 1599 was Morley’s First Book of Consort Lessons (reissued in T61r with two extra pieces)” to which Philip Rosseter’s Lessons for Consort (4609) isa pendant. These are for the standard mixed consort de scribed above. There are also two slightly earlier manuscript collections: those known as the “Walsingham consort books’, compiled in 1588 for use in the household of Sir Francis Walsingham; and a set in the hand fof Matthew Holmes of Oxford around 1595." None of these sources is ‘complete, and much of the music, o be playable at all, requires extensive Supplementation, either ftom parallel sources if these are available, or ese by the editor himself. Yee these are in some ways the most characteristic ofall the specimens of Elizabethan consort music in existence, Their instru~ entation is redolent of occasional music-making, whether in the theatre or in the hall. A well-known portrait of Sir Henry Unton (painted shortly after his death in 1596) shows such a consort playing at a sumptuous feast ice Plate 1X). The manuscript sources include pavans, galliards, almains, and settings of well-known tunes; the Walsingham books include music by Alison, Daniel Bacheler,” and others; the Holmes books settings by Richard Reade, Richard Nicholson, and unnamed composers. A good deal of the music is arranged: a named composer might be either che original Creator ofthe piece or its arranger, the attr even without the conventional formula ‘set by... "The highly decorative writing, especially that for the lute, suggests a slowish tempo, and may perhaps sve as a warning against the over-hasty performance of nominally undecorated dance music of the period. That said, the delicate timbre of this kind of music makes it unsuitable for actual dancingand may be indicative ofa more reflective approach to interpretation thin would be otherwise called for. A short section of a famous pavan, ‘Johnson's Delight’ (variously atcribed to John, Richard, and Edward Jon~ on, and known also in versions for lute and solo keyboard), in which Thee ae the thot ai ofthe ie-pge. Thoms considers them ape ofall, bo they ae suey son pig ft The sla sanotie posit Oi). TNSED the remmcton fy 8 Ree (Nw York 940) For novice of two mising te pu 6 13} 496,31 fr ied Caron ed W. aad 8, x, "This compose comer to be the ier, o ter ede eebtive, ofthe wellknown nent -compouer ofthe tame re. One ofthe comer ccs is dated 138, one year afer he pubcaton fr pconal record ofthe fame of Sr Philip Sidney, i which Daniel Bacher shown a ‘sl page on honcacks and thi presumed co reprsen te ent. See MB, x, nd NGD, teach 470 INSTRUMENTAL MUSIC, 1575-1625 all the parts are extant, wil ilustrate the characteristic scoring of this fascinat= ing repertory (Ex. 176, pp. 471-3). ‘The rather ‘drab’ quality (to borrow a term of kiterary criticism) of some siceenth-century music for whole consort makes the vigorous survival of traditional forms in the Jacobean era a pleasant surprise, Beside Gibbons, Bull, Weelkes, Ward, Tomkins, Dowlind, and some lesser practitioners in the established manner, stand the more adventurous Ferrabosco and Coprario, together with immigrants like Thomas Lupo, expatriates like Philips and Dering (their music preserved by the indefatigable Francis ‘Tregian), and collectors of consort dances such as Adson, Brade, and Simp- Gibbons is at once the most traditional and the mos refined and deeply considered of all these composers. His range is wide: fantasias for two, three, and four viols (ome with the ‘double bas’ viol), In nomines for five viol, fantasias and other pieces for six" Two of the four-part works have frequent vempo-changes, indicated by such wordsas ‘Long’ and‘ Away’; at times their bold harmonic and melodic gestures seem to foreshadow the style of William Lawes. The same feeling crops up inthe six-part fntasas, ‘especially the first with its vivid contrasts and angular themes. The variations con ‘Go from my window’ are a masterpiece of clasical counterpoint in the service of perpetual surprise. Ifthere were no Keyboard variations on it to nis our expectations we shouldbe astonished a the composers resource falnes in dealing with this simple, square-cut theme. Composers whose main strengths lay elsewhere must be pasted over haere, but a word should be spared for Tomkins, whose thinycfive extant ‘worksin thismediinm count at major contribution, Particularly noteworthy are the seventeen pieces for various combinations of thre viols, of which those for two trebles and bass provide an interesting hint of the coming baroque.” Lupo was another composer whose three-part writing was lively and adventurous.” Dowland’s Lachrimae pavans are in a class of their own, their intensity of expression unparalleled in the chamber music of the period. Published in 1604, they ate described on the title-page as Lacvimat, or Seaven Teaes > Mii fr Mid Cano, 1.1, om the Wakingham books far other venions se the noes here 0. Gibbons, Cou Mas J. Harper (MB, xi, 2 Lam gael to Dr A ving for making i amerigins ale oe, 2 Meyet, Ely Elk Cham Mae 143-9. For the Lipo larly see NCD, alo. Cope, ‘Ravenscroft apd Femboico ae te fuer composen sight ged out by Meyer id ‘Seether asbon Conon Muze. Dar and W. Cots PAB, and belo PP 4-9, INSTRUMENTAL MUSIC, 1575-1625 Ex. 176 Late ade) an eontnned wm INSTRUMENTAL MUSIC, 1575-1625 Ee. 176, continued J r INSTRUMENTAT MIISIC, 1575-1625 Bx 196, continued m INSTRUMENTAL MUSIC, 1g75-1625 figured in Seaven Passionate Pauans, with divers other Pauans, Galiards, and “Almands, set forth for the Lute, Viol, or Violons, in fue pars. This description of the forces involved as usual demands interpretation. These pieces could not be performed on the lute alone, and in most of them the lute part contains material which, if omitted from a performance on five-stringed. instruments, would result in a serious impoverishment.>> Diana Poulton’s eloquent characterization of the seven pavans deserves quotation: ‘The fire part of the book, made up of che ‘seaven teare', constitutes a prolonged. expresion of deeply-felt tragic emotion, only equalled in intensity among the secular compositions of the period by the very greatest examples of madrigalian ‘The first pavan, here called ‘Lachrimae Antiquae’, was arranged from a Jute piece and had also appeared in the form of a song, “Flow my tear.” From this starting-point arose the remainder of the sequence, to which the quaint titles ‘Lachrimae Antiquae Nouae’ ‘Lachrimae Gementes, Lach- timae Thies, "Lachrimae Coacta’,‘Lachrimae Amante and ‘Lachimae erac’ were given. Its difficult to find adequate expression for the 1 and finese ofthe emosions hinted atin thi superficially monotonous bet in fact well-vared colleen. Though lacking even 2+ much surface vaiety a Haydn's Seven Last Words (to which it offers a curious pall) the collection must undoubtedly be thought of as a coherent whole, ts thematic ‘material being constantly transformed in a myriad subtle ways. What is perhaps missing is a sense of progression; the pices might be played in any order, ora selection made, without a noticeable los. But a complete Rerformance inthe published order is 2 schly rewarding experience all the same. ‘The seven Lachrimae do not exhaust Dowland'’s introspective vein, for the very next three pieces areal sombre pavans, the fist the famous ‘Semper Dowland semper dolens’, originally for lute. Then follow nine galards, ‘many of them also arangements, and two ‘almands. The composer's charm, zed versity is nowhere more srkingly displayed than in this splendid anthology. Amongst composers of lesser rank, Alfonso Ferrabosco the younger deserves mention asa master ofthe traditional polyphonic style. This mastery * See cd: Dots rt he npn by Wack 7 sd ine fr ‘Pavan only, 1954). Full commentary in D. Poulton, John Dowlend, 34375, 2 Then 8 Schoen INSTRUMENTAL MUSIC, 1575-1625 495 is displayed not only in the skilfal deployment of vigorously conceived ‘melodic lines, but in the bold sweep of his harmonic and tonal conceptions. In the following passages, taken from the twelfth ofa set of ewenty four-part fantasis, we can see how the apparently innocent opening idea gives rise to a sequence of modulations that take us from F major as far afield as E major (Ex. 177, overleaf)” ‘This penchant for Chromatic modulation is taken a stage further in two hexachordal works in which the six-note scale is presented on successive degrees of tic Unomatic scale, ascending from cto 4! in the frst piece land descending in downward scales in the second.™ Coprari, too, Ient disinction to the taiional form, for example in a fantasia for fve viol (accompanied as was now becoming usual on the organ) exploiting con- {tasted instrumental groupings (Ex. 178, pp. 477-8).* A few works of Peter Philips that crossed the Channel and are preserved in one of Francis Tregian’s ‘monumental anthologies show that he too kept in touch with English methods. The Pavan and Galliard ‘Paggett’ (which also exist for keyboard) and a six-part passamezzo pavan ae especially memorable." ‘Dance music forms a larger proportion of the Jacobean whole consort repertory than of the Elizabethan. Not all of it was intended for social dancing, the masque, or for public entertainment. Ferrabosco's ‘Four-note Pavan’, to which Ben Jonson wrote the poem ‘Hear me O God’, is a5 profound a work as any in a purely contrapuntal form (EX. 179, p- 480). But the printed collections preserve a more functional repertory. John ‘Adson’s Courtly Masking res for violins, conorts and comets (161) put five-part fiesh on the skeletal forms of dance music preserved (in one manuscript) only in treble and bass On the Continent, William Brade and Thomas Simpson issued anthologies of English dance music of the kind made > London, Bit iby Add, 29996, fo, 94-96 and other sources not here collated, There i aconpte lt of Ferber pu fans a Meer, Dw etn Spas 7 Johanders ENI snd itlnnpe (Kl3pas Add. 29996 cones eweny of hm score in the Rand ‘eC Thomie Tomine 7 ena Co Mk no, 23 (4 descending) and 39 (a, descending Bt works Ge. with sceing and descending berachords epectiey ext im both four-andfvepar vesons and shold ‘Sbicy be perormed pair ope o ther veson. "clean Ct Mi, a, 40 end onan pa omit ‘eon Con as on, 90. On the pasamerro ain, se The Dubin Vii! Mona, J Ward 4, and pp. 3-4 abot 1 ten Cor ans. 6 preceded by amir week by Daniel Fara ‘Wow Matin in Exgth So here was 20 ed in at 12, One piece ven in Jno Cont Mas, 4, OF ee 1 pecs 31 ate five-part. 10 spa ee ofthe five-part ‘worse doignted for nck and comes” London, Bit. Lib Add a,c ofthe wble nd Hos prhoks of an extensive seer f ances for sage wos thee may ogra have Been ‘Breerher book fr she inner pee 46 INSTRUMENTAL MUSIC, 1975-1635 ~ASTRUMENTAL MUSIC, 1975-1625 7 48 INSTRUMENTAL MUSIC, 1575-1625 Ex. 178, continued o INSTRUMENTAL MUSIC, 1575-1625 479 fashionable through diplomatic contacts between England and Germany." ‘And hidden amongst che extensive manuscript compilations of the period lie innumerable dances of a lighter character, their titles, as with Tregian's own ‘Balla d'amore’, in ten contrasting sections, hinting at some social context that can often be only guessed at. ‘The most important new development of the period was the emergence of the consort suite, or ‘fantasia-suite’, as it has been called. The terms fare modern: the word ‘suite’ was not used in England at this period, though ‘set’ came to be used both for single unified works 2s well as for groups ‘of works (such as a pair of suites in the same key). The consort suite seems to have been the invention of John Coprario, who scored them for one fof two violins, organ, and bass viol. There are sixteen works for one violin (the last surviving only as an organ part), and eight for two. While consort ‘music of this kind was in great repute at the court of Charles I, and while it is known that Coprario was involved with Charles's music from 1622 at least (when Charles was still Prince of Wales), this music is essentially fof Jacobean inspiration, Coprario died in 1626, one year after being appointed composer-in-ordinary to Charles, and was in his prime during the second decade of the century. The peculiar form and instrumental texture of these works is more likely to have been a response to the com- poser’s own searching intellect than to the specific needs of a royal patron, nd their conception and composition must have occupied him over a Tengehy period, Their introspection and formal discipline may well have appealed to the most artistically minded of all our monarchs, but it does not follow from that that he had any hand in their devising, Each of these splendid works consists of a lengthy fantasia (which may itself be tripartite in structure), an almain, and a galliard, usually concluding, ‘with a short coda in duple time, The form, which owes nothing to the arly baroque suite, such as it was, or to such units as the interrelated pavan and galliard, proved durable in England, and was extended to other ‘media; but for Copratio it was confined to the ensemble just described. Brad, Nave sone Paaen, Galan, (2 5} (Hamburg, 609) Neve asne Pa and Calder) Pama 16a), Neve sucrose ese Bron. fe 5}(ambarg and {beck nih Neve hope Ver» [5] Bein, 1630. Sion (ed. and comp), Opi wer pan eae 6c} Ops Paden. anki, log anddn Harbus oe TajsCosot (24) (Hanborg. tot), Bee abo poblshed a volume in Antwerp, and chee ehelaneous mine tones for both composer. Modem pbltion ha ben sprit hee ite edors of Sion by Mkemeyes(Weinshaven 1962) and of bots compoce i Jantar Ts ne abo B, Boge, Mack wad Mase Bre, 930 A. Meer, Gx ds Vis {ant edn Bsn 96) (or Rei) G, Ode, Exch Onesrnien (Wolebl, 1939) pees GPSS) and above all forte wee apbete of monic nks Berneen Enghnd and Germany isp, Wr Brun, nia burdens (Tag 197). Esha Coot aso. 74. The cy and tunis waits may ofen tae been cle upon to provide conor mat fal Kinds wee Wood, Maan Engh Say, 85-7, aR Chance (MD. x Sc aho Charter, Joba Cprnc: A Thoma Catal of is Mac (New Yor. 297 Bo INSTRUMENTAL MUSIC, 1575-1625 Ex.179 That ay pve The = ny sme) ‘The organ plays « partly independent, partly harmonic, role; in the latter case with a good deal of doubling of the violin pars. Later composers, and in particular Coprario’s pupil William Lawes, were to make more of this medium, both in the virtuosity of their string-writing and in the inde pendence of their organ parts; but to Coprario belongs the honour of the ‘invention, to which he applied his special brand of courtly gravity. Alfonso Ferrabasco published his lescons for one, ‘wo, and three lyra ‘viols in 1609, and there are comparable works in the publications of William. INSTRUMENTAL MUSIC, 1575-1625 ro Corkine and Tobias Hume."® The combination of two or more lyra viols, alone or with other instruments (such as the violin and bass viol), results in a sound of incomparable richness such as can only be guessed at from printed transcriptions (the original notation being in tablature). Their wide range permits a constant interweaving of melodic lines and exchange of harmonic function. Nevertheless, splendid though some of this music is, the repertory reached its apogee in the following epoch. ‘The lute and other plucked instruments were frequently hearé in com- bination with voices and with other instruments; they also, and the lute in particular, commanded a large solo repertory. The virtuoso composers of the day, chief among them John Dowland, inhabited a different world from the amateur strummers whose resources they adopted and transformed. True, virtuosity on the lute was no new thing, but the emergence of a sophisticated written repertory was indeed a novelty of the pericd in Eng- land, an era of lute music to which the name ‘golden age’ has been aptly applied. The lutenist who had thoroughly mastered his instrument had at his command an expressive range second to none, in spite ofits low dynamic level. The later, indeed, added to the effect of the performance by guaranteeing an intimacy that lent ita unique charm, ‘The lute sources of the sixteenth century, even towards the end, give liede hint of the new exploitation of the medium that was certanly under ‘way by the ts80s. The Ballet and Dalls lte-books" contain simple dances and song arrangements. AS in the case of solo song, the genius of Dowland gives the impression of a sudden flowering. Most of his predecesors retain their merited anonymity; yeti was out of such unpromising materials that his are came to fruition It was nourished abroad, particulary in Italy and in Germany, where his later fame was considerable; yet in spite even of his long sojourn in Denmark it remains wholly English in character. ‘The elder Ferrabosco was one source of a new sophistication.” The large ‘output of Anthony Holborme wel illustrates the functional level of much ‘of this repertory, a aso the cultivation of the cittem and bandora in addition to the lute.” There are also numerous examples of music fer plucked Example in Jas Cont Maen 0-2 4 SeeCh 5. 2 One compost whose merits deserve to be invested more thoroughly iJon Jobson ssp, cr of Roba Jomo. ‘Delight Pav" wa ced sbove im an arangenent for mined tone x16) Fstne mice N, Non, 2 vol (xr 1979) (Mus forthe ae i 2} 5 ELM. Kama the two vohmes os preted ComploeHibts (ara! Pacaon in Man: Cambie, Mass 967") There now nuneou snle eos of manactpe {burt ioe ma nthe Boetis Presser Maca Sours, Ths ae, inorderfpblton, ‘Te Buel Ltt Tuer G97, Te Sono tte Bos G97), The Mal ae Bok 979). The ‘Bod Lae Boe (97, Te Reta Lae Bok (78), The Bayi ate Back (97), The Hog tae Bao (9p, The Trane Late Bosk (980), The Ma Lue Bok (98), The HeshLate Book (9). fon eine Late Bask 08) and The Me Ete Bok (980. aa INSTRUMENTAL MUSIC, 1575-1625 instruments in combination, cither with each other or with melodic instru- ments, or both. Music for such combinations stands at the threshold of the ‘official’ mixed-consort repertory already discussed." ‘As a composer of music for the lute, John Dowland towers above his ‘contemporaries. Both in quantity and in quality he far excels even his nearest rivals, Daniel Bacheler and Francis Cutting. In statute he can be compared ‘only with Byrd; yet his nature is more akin to that of the next generation of virginalss—Bull in particular, with whom he shares a Continental rept tation, a penchant for virtuosity, and some technical features, and Gibbons and Tomkins, whose profoundest introspection he more than matches. His lute music was first printed, without authority, in William Barley's New Booke of Tabliture (1596), and subsequently in his own song books and in his brother Robert Dowland’s Varite of Lute-I sons ix610). Abroad it was published, though often in mangled versions, in Heidelberg, Utrecht, Cologne, Augsburg, Nuremberg, Strasbourg, Amsterdam, and (after his death) in Haarlem; itis preserved in over thirty manuscrips, English and foreign. Yet within a short time after his death it was virwally forgotten, the legend of his reputation alone remaining. Only in the present century has his true worth gradually been recognized, culminating in the splendid edition of his late music now available Dovland’s most characteristic compositions are his fantasas (or fancies), pavans, and galiards. There are also some almains, corantos, varation-sets, and a few other pieces less readily clasifiable. The fantasias and pavans ‘enshrine his deepest thoughts; the galliards, with one or two exceptions ‘unrelated to the pavans, are of an exquisite lightness of touch, ‘The first fantasia presents an unproblematical picture; but with the very next piece, ‘Forlom Hope Fancy’, we are plunged into the composer's ‘most ‘melancholic’ mood. The subject is the downward chromatic fourth (used also by Bull and Sweelinck, and by John Danyel in the Chromatic Tunes cycle discussed above, pp. 438-9, treated with the utmost gravity and freedom of harmonic resource (Ex. 180). The next piece, entitled ‘Farewell’, uses the same theme ascending; but the true companion to this appears to be the anonymously preserved fantasia, no. 7, where the descen= ding fourth appears in the same ehythm. No. 72, again anonymous, has yet another variety of chromatic fourth. No. 4, entitled ‘Farewell like ‘no. 3, isan In nomine, gravely beautiful but without harmonic complexity. ‘Of the pavans, no. 8, ‘Piper's Pavan’, forms a pair with ‘Captain Digorie Piper's Gallard’ (no. 19), later used asa song, ‘Can she excuse my wrongs? ‘Number 9 is the famous ‘Semper Dowland semper dolens', but the most celebrated of these deeply moving works is of course ‘Lachrimae’ (no. 2 See Mac fir Med Court pit. Therese examples hy Holbore in th eon ju ced EAD Pelton and Lam Landon Sd eda, 98), Cale ite Mts 02 INSTRUMENTAL MUSIC, 1575-1625 483 Be 180 rr ogee oe gy eet pt sea omelet Sethe men rena erie mea ee Spee re cp tyr ree ae See a 0 Be INSTRUMENTAL MUSIC, 1575-1625 Ex 18 rr hemiola. One of the best known, the ‘Frog Galliard’ jno. 23, used for the song ‘Now, O now I needs must part), may not even be by him; its rounded binary form is certainly not typical of the galliard form, and its nickname may be the result of some misconception that will never be penetrated. “The Most High and Mighty Christianus the Fourth, King: of Denmark, His Galliard’ (no. 40) is a three-strain mslody with three variations; the idiom is of an appropriately (and not unhumorously) high- and-mighty character. Dowland’s shorter works and sets of variations are scarcely ever without some charming turn of phrase that renders them memorable. The variations are not great structures of the kind that the virginalists sometimes attained; yet the best of them—'Walsingham’, ‘Loth to depart, and ‘Robin’, for instance—are imbued with such delicacy and refinement that their melodic ‘material, fascinating to begin with, is invariably enhanced and transmuted into something precious. He was in truth a composer for all seasons, a solace to the melancholy and a companion to the cheerful. Te has been conjectured that most of Dowland’s lute music was written by 1600 or shorty ater; and much the same may be said of Francis Cutting, an obscure contemporary who as far as is known wrote only for the lute. INSTRUMENTAL MUSIC, 1575-1625 485, About forty works survive, mostly pavans and glliard (casionally in paired sets). His work is solidly struccured, with strong counterpoint and rigorously controlled ornamentation.* Daniel Bacheler, on the other hand, was a ‘more adventurous composer, active in the reign of James I (iis probable that he is not to be identified with the ‘Daniell Bacher’ of the Walingham mixed-consort books, but rather with a younger man, who may have been. the son or other younger relative of the former). His music lacks the sheer textural richness that isso characteristic of Dowland i sles cogent harmonically, but in some ways more alusive and subtle. One of his most attractive pieces isa set of variations on a song here called ‘La (usually “Une jeune fllete', known in Germany as ‘Ich ging einmal spazieren’ and familiar in a later form as the choral ‘Von Gott will ich nicht lassen’ 'A few bars of the theme and its fist variation will illustrate its loose-limbed textures and contrapuntal freedom (Ex. 182, overleaf) ‘The lute music of Francis Pilkington—a priest and singing-man of Chester whose vocal music there is good cause to admire—is somewhat eccentric and amateurish, the persuasive advocacy of its editor notwithstanding * Robert Johnson, on the other hand, was an innovative master of the first corde. its true that his principal caim to fame isin his vocal music and fother music for plays and masques, and the man of che theatre may be Keplnard Masi no 40m 2 theme by Swede’ ded 15 Dee. 1631, No. 5,08 ery similar teene, nln rewnnding Fie ws Soerbed, in »poaumous acount of a vie of Frexch ambusedon to Westiter ‘Atbey in 164, "the bet ger hat age” Le Huta, Man he Rtn In Erg 66, ting) Hache, Ses Rest 1652), Le Huray ies ood cont ofthe Chapel Roya orn, weet 492. INSTRUMENTAL MUSIC, 1575-1625 INSTRUMENTAL MUSIC, 575-1625 493, ‘crude efforts like the Hompipe (no. 39, imitated from Hugh Aston's much ‘earlier work) to sophisticated settings such as ‘John come kiss me now" (a0. 81), Gypsies’ Round (no. 80), and ‘O Mistress Mine’, which apparently -post-date My Ladye Nevell Booke (1591) since they are notin that comprehen~ sive collection of his work. That of course is not a conclusive argument sto date (though in these cases the argument is backed up by stylistic indications), and in any case Byrd had achieved fall maturity by 1591 as is shown by his sperb confidence in handling variation form in such pieces as ‘Walsingham’, ‘Sellenger’s Round’, “The Maiden’s Song’, ‘The Woods sso Wild’, and others. What is so striking is his concern for overall form: the care with which different figurations are introduced and replaced (often in the middle of a variation); the sense of progression from one variation to another, of needful contrast and repose; the handling of the melody itself and its transfer to different pars of the texture; the sense of climax: and the addition of a short coda when the circumstances suggest it, In all these respects the ‘Walsingham’ variations are at the summit of his achievement. In ater works an increased formalism and brilliance may some- times be discemed, but he never exceeded the subtlety of these rather earlier ses. Bull's ‘Walsingham’ variations, when placed beside those of Byrd, con~ veniently illustrate his strengths and his limitations. They are longer and ‘more brillant than Byrd's, and are not badly arranged; but they are lacking in genuine formal cohesion. Bull is more successful in less pretentious works, asin the three settings of ‘Why ask you" (nos. 62-4) or ‘Bonny Peg of Ramsey’ (no. 75). Gibbons's few variation-sets are somewhat disfigured by their excessive elaboration; much the same applies to Tomkins’ earlier sets, while ‘Fortune my foe’ is a ripe affair of his extreme old age (it is lated 4 July 1654), still unfinalized at his death, Byrd’s mastery of the dance forms was equally complete, but his peers approached him more closely here than elsewhere. If Byrd's ‘Passamezz0" Pavan and Galliard (no. 2) are the supreme example of the passamezz0 antic in England, then Bull's ‘Quadran’ Pavan and Galiard represent the _passamezz0 modemo at its highest point. Byrd's dozen or so mature pavan— ‘plliard sets are remarkable for their lyrical warmth; those of Bull for their brilliance and posturing (even in such a work as the ‘Melancholy’ Pavan and Galliard). To Bull also belong a number of exquisite almains and coran- tos, where he exercised a lighter hand than Byrd himself. The pavans of Gibbons are of a wonderful austere gravity, but there is only one pavan— gilliard sot, che beautifl ‘Lord Salisbury’ (there ae several separate galliards). ‘Of Tomkins there are four or five sets and several separate dances, some of them late works as introspective as anything written in the golden age proper. ‘Amongst the close contemporaries of Bull and Gibbons, Morley and. “Weelkes wrote small amounts of fine keyboard music.” Giles Famaby, though a leser musican, left a quantity of pieces that deserve a closer inspection.” It has been conjectured that he may have been a pupil of Bull, chough he was only a few years younger. He was a joiner by trade ‘and may have been irvolved with the making of keyboard instruments. In that sense he was an amateur, though his reputation was sufficient for his harmonized psalms to be incorporated into Este's psalter (1592), and ‘ater into that of Ravenscroft. In 1592 he aso obtained the degree of Bachelor ‘of Music from Oxford. His Canzonets were published in 1598, and sometime ‘between 1625 and 1639 he compiled a complete harmonized psalter, dedi- cated to Dr Henry King, a prebendary of St Paul’. He died, ifthe identifica tion is correct, in 1640. Farnaby's more ambitious keyboard works often recall those of Bull in the brilliance of their writing. The eleven fantasas (one of which certainly and others possibly are ornamented transcriptions of vocal works) together with an immense Ground are ambitious and resourcefil. Many of his dances are settings oflure and consore works by John and Robert Johnson, Dowland, Byrd, and others; and the apparently independent works exhibit a simi, ‘occasionally rather mechanistic, omamentation. The ‘masks’ are also prob- ably all setings of maique-tunes by others—one at least is by Coprato. But Famaby comes into his own in his lighter dances or gente pieces and sets of variations on popular tunes. He does not attempt the structural cohesion achieved by Byrd; but che variety of his embellishments, as with the best of the luteniss, is always pleasing and creates an effect analogcus to that of viewing some object from several angles. In such pieces as “Bonny ‘weet Robin’ (which may be expanded from an earliersetby Bull), ‘Daphne’, “Mal Sims’, and ‘Why ask you’, the themes are enhanced rather than con- cealed by the delicate wacery with which they are overlaid. ‘Giles Famaby's Dream’, ‘His Rest’, and ‘His Humour’ area charming sequence of vignettes Four pieces by his Son Richard continue in the same vein. Ben Cosyn is another composer who seems to have been associated with Bull and to have been influenced by his style, which he carries to extremes. He was organist frst of Dulwich College (t622~4) and later of, Charterhouse (Grom 1626); but his own virginal book, containing, music by Bull, Gibbons, and himself, was completed by 1620;" and his index {0 a manuscript believed to be in Bull’s hand, with many additions by Cosyn himself, is dated 1652. He died in 1653.” A few quiet contrapuntal > Morey, e RT. Dart BK, s-i; Weekes Keb Abii file... th ioision nd wipe e:D. Harter Cen, 3985, Giles and Richard Fay, Reed Ms, R, Meow (En. See so Baboon Ked Masi A Bron (ME fy). London Bee Lb M.24 La The ‘Bull MS iin Pai BIBL it, Fonds da Cometic, Réserve 85 Forte bog. Ineadngthe date of burl seeD. Dae, One of the Ci of Lando, 99 oe INSTRUMENTAL MUSIC, 1575-1625 ‘works subscribed ‘B.C.’ may reflect the manner of Cosyn the organist.” ‘Bat most of his music is ofan ebullient virtuosity, peppered with ornament signs which he fieely added to the works of others 3s well. The "Bull ‘manuscript may have been left in Cosyn’s hands whea Bull left England for the Low Countries in 1613: Cosyn filled the pages with works by himsele and by the younger generation of Caroline composers. Little need be said here of Bull's own personal life. By the time he came to leave England he had achieved the summit ofthe profession, and had become a Doctor of Music of both universities and Gresham Professor ‘of Music at tae Guildhall in the City of London. But his Roman Catholicism Ihad apparently made life impossible in England; he fled frst to Brussels, ‘where he will have encountered Pieter Comet and Peter Philips; and after 4 few years as organist of the royal chapel there he setled in Antwerp 4s cathedral organist from 1617 until his death in 1628. The keyboard music that he wroteon the Continentillustates his adaptability it includes fantasia ‘on material of Continental origin, altematim settings of the ‘Salve regina’, and settings of Dutch folk-tunes and carols.” But he must also have con tinued to play his ‘English’ works: they exerted a strong influence on Sweelinck at Amsterdam, and some of them are to be found in a collection of his and others’ music made shorly after his death by one Guilelmus Messaus." Curiously enough Peter Philips himself, hough exiled abroad from 1582 at the age of 2 or 22 and a noteworthy exponent of up-to-date styles cof vocal music, retains a decidedly English character in bis keyboard music. His pavans and galliards have an expressive richness that guarantees their central place in the repertory; and even the intabultions of works by Caccini, Lasio, and Marenzio have the organically controlled quality of the best kind of English decorative writing. After livingin Italy and Antwerp, Philips eventually (in 1597) became organist of the archducal chapel in Brussels, a post which he held until his death in 1628, the same year as that of Bull ‘The music of Famaby and Philips, together with + great quantity of that of Byrd and Bull, was copied out by the younger Francis Tregian (1874-1618), apparently while a prisoner in the Fleet.”” The Tregians were oxford, Chis Church, Mas selection in Cony, Thee Veni, J Stee (London, 1999) few more pieces by Cony ein Tue ifr kre ment) A. Palle Maan ‘and W. B.'Sqar (Londo, 1938 be the bul of hs utp emia wpablated. Ar ton by ‘MeO. Memed tin pepsin. "7 His tna eos seme by Suesink hasbeen feed above, m7 * Yondon, Be Lib, Aad. 3635 * is manaserpt, the famous Bwliam Virgil Book, kept inthe Flim Museum, Cm Doge, MS 2.29, ed JA. Fult-Mailid and W. 5. Squire (Lepr, 199, an repens). For ‘ther MSS copied by Teegian se Ch. 7.3. MexR. R. Thompsons, whos epanng a comprhersve sy ofalthe "Trepan’ MSS, eb dh they were in he prod of wel srpansed senor, INSTRUMENTAL MUSIC, 1575-1625 495 a noted Commish recusant family, constantly in difficulties for the sake of their faith; and Tregian the copyis’s tastes were inclined towards the music ‘of is co-religionists, though by no means exclusively, His famous virginal book is a fiscinating ‘retrospective’ of most of the best of the Elizabethan and Jacobean repertory, together with much of a distinctly minor character that nevertheless illustrates the breadth of contemporary musical culture asno other source does ‘A few other important sources may be mentioned here, apart from the Bull and Cosyn manuscripts already referred to. My Ladye Nevells Boe, copied in 1591 by John Baldwin, is devoted entirely to music by Byrd. One ofthe most important manuscripts is now thougit to have been copied by Thomas Weelkes around the year 1610, while Will Forster's magnificent collection is dated 1625." Mention must aso be made of Parthenia (1612 fr 1613), a printed collection of music for the virpinals, and the first to appear in England, The volume was finely engraved by’ William Hole— nother novelty—and contained music by Byrd, Bull and Gibbons. Though it is by no means representative of their best work, itis a landmark in the history of musie-publishing in this country, and was popular enough to be several times reprinted from the origina plates." < One curious survival now in the library of Christ Church, Oxford {san anonymous collection of Roman Catholic liturgical organ music, appar- cently of Netherlandish provenance but written down by an Englishman. Various theories have been advanced as to who the scribe (and hence the probable composer) may have been; the most plassible and atractive i that Richard Dering compiled it for use in Brussel where from 1617 he ‘vas organist of the English nuns’ convent, and that he broughtit ro England when he became organist of Queen Henrietta Maria's chapel in 163s." Te could indeed have been put together specifically forthe latter esabish- iment, but the old-fashioned syle and the inclusion of pieces by Philips and Comet argue for a Brussels origin, and in any case there is no proof thatthe manuscript reached England so early “The English keyboard repertory like that ofthe lute, reflects the whole breadth of the musical culture ofthe day. There is o comer of experience that is not somehow represented, even if only in work of little intsinsic value, Programme music, tage musi, popular song in all its shapes and forms, josie side by side with che learned genres. And rich though itis, * My tate Nols habs povaly owned (eH Anew enn, 16a rep) The Wee ts Lenore Bic Ey ASS yoy Wil Famers Bok hd R243 Poe he {wo ner ee Elen Keyl At A Drown BBW. Te df Fontes MS, gen Spline ag pay de he dase try cng 9 Das oder ein ey a 363, 266, 65, ang Hol enpsved ogee Now Pe as me 06). i + Sec ons 496 INSTRUMENTAL MUSIC, 1575-1625 _ the solo keyboard repertory is but a part of tit infinitely more varied tapestry represented by instrumental musi aa whole, in which a seemingly endless range of possibilities is exploited in the endeavour to create an authentic and self-sufficient medium of musical expresion The practice of instrumental music is closely bound up with the history of the musical profession at this period. The profesion of a singer was still associated primarily with che Church, and in the provinces atleast ‘was in decline for that season. Only in London and its environs, with the Chapel Royal, Westminster Abbey, St Paul's Cathedral, and St George's, ‘Windsor, providing the main opportunities, were pre-Reformation stan dards of attainment kept up." It was of course these bodies, and especially the Chapel Royal, hat provided the vocal complement, not only for state occasions such as’royal weddings and funerals, but also for masques and diversions at other times. A purely ‘secular’ singer would at fist have been an entertainer with many other strings to his bov—recitaion, acting, ot instrumental playing for example. In the seventeenth century we begin to hear of individuals—Nicholas Lanier for example—referred to a singers par excllewe. But the royal household music ( opposed to its chapels) ‘was dominated throughout the seventeenth century by its instrumentals, the inheritors of the medieval raition of minstelyy and amasved by the monarch in response to the requirement for lavish display as much 2s to satisfy specifically musical needs In London and the provinces, the main outlet for professional musician= ship was the institution of the town oF city waits, those descendants of medieval watchmen who now played a variety of instruments and gave concerts as well as exercising their traditional function. There is some reason to believe that their music could be quite sophisticated. Otherwise professional musicians were either free and self-employed or were retained by a royal or noble patron. The free musicians of London were controlled, 2t least in theory, by the Company of Masiciass; outside London only those of York maintained a company, chough others attempted to do so. In London the focus for retained musicians was of course the royal house- have writen moe fly onthe Keyoud reper of thi ind in my Eigli Ketsrd Muse ij he Nich Cay $140. the min cete forthe Copel Repl wa in the palace of White, I sce between "961 and 144 se monitored n The OW Chu Booked . F-Rinkal (87). No sch document ‘20s fr the otber imsteations eleed tn. "The relevant modem works ineade J 8. Ben, The (ngs and Compas of St Pals Cael (London 185), EH. ellwen, Orit a Mae (J toe Chess of 5 Cage's Chapel in Wiaar Cs(London, 1919); and Pin, The Weir ‘Abey Sig (London, 198). Some mater reste spec scans (ronson, royal inet {a} maybe founda The Ka Mui de Lalo (909 en, Mi i Eh Si. 245 oe acon wan 7-10, 29-5 (on te Wood $32: 10.098 INSTRUMENTAL MUSIC, 1575-1625 497 ‘hold, to which might be added in the reign of James I the households ‘of his consort, Anne of Denmark, and of the two successive Princes of “Wales, Henry and Charles. ‘There was in fact a noticeable change of emphasis in the constitution of James I's royal music as compared with that of Elizabeth, A lis of offices and of fees pertaining to them, dating from 1593, includes sixteen trumpeters and their ‘sergeant’, six ‘sagbuttes’, cight ‘vyalls, three ‘drumslads’, two flute-players, three vieginalists, four foreign musicians (Venetians, presum2- bly members of che Bassano family), eight ‘players of enterludes’, and «wo ‘makers of instruments’. Accounts of payments to individual members of the houschold music rarely reveal the names of significant composers. ‘Amongst the seven violins, seven recorders, seven flutes, six ‘hoboies and sagbuttes, six “lutes and others, cwenty-two trumpeters, and four ‘drums and fiffes’ alowed mourning livery for Queen Elizabeth's funeral.” only ‘Thomas Lupo, senior (violin), James Harding (flute), and ‘Alphonso Foro- bbosco" stand out as composers of any prominence, though there are several members each of the important musical families of Lupo, Bassano, and Lanier. At the funeral of James,” by contrast, ‘the chamber of our late Sovereign Lerd King James’ included, apart from trumpetessand drummers, no fewer than thirteen ‘musitions for Violins’ (including Thomas Lupo ‘composer. twenty-one ‘musicians for windy Instruments’, and above all ‘the Consorte’, cleven musicians including Charles Coleman, Robert Johnson, John Dowland, Daniel Farrant, and Nicholas Larier ‘singer’. The ‘Chapel Royal and Westminster Abbey ficlded especially distinguished teams In the same year the twenty-four musicians of Charles I included John Danyel, Angelo ‘Notarie' (Notari was an Italian composer whose monodies, had been published in England), Ferrabosco, Coprario. Robert Tailor, and Robert Marsh. This new emphasis on composers of distinction in the royal household heralded the further substantial enhancement ofthe ‘King’s Musick’ in relation to the Chapel Royal inthe Caroline period. Not all those musicians resident in the houses of wealtay families were its servants. Some, like John Attey with the Earl of Bridgewater, were ‘gentlemen and practitioners in music’, who may have had their own sources of income and could be treated as companions as well a5 being tutors to the young of the family. Comparatively few notlemen will have felt the need for the resources required to mount elaborate ceremonial events with music on a regular basis; they could always hire independent © Kings 39 * Bi j-6 Se Wood 300 fra lst based on ional ores, 7 King Mui 9-8, Woodie * Capo wis compost the lit Bom 16 Feb, 162 wl is death e138, and fra ine ‘comporerothe ute and voices whichhe wa seeded by Rober oben NCD, alee. "Nous f= was slim he royal sevice in 166, when he ded e097 © Wood ss 498 INSTRUMENTAL MUSIC, 1575-1625 musicians for a special occasion as did the monarchy itself fom time to Rich though the records are in details of music in its ceremonialaspects— as aguncts to ambassadorial receptions and foreign missions, as table-music, dance music, and dramatic musi, all designed to enhance the status and dignty of che royal personage™—it isthe growth of the amateur apprecia- tion of music that is the most striking feature of the period. With the example of the monarchy co hand, music became a desirable social accomplishment, most frequently exemplified inthe study of an instrument such as the lute, virginals, or viol. In the seventeenth century this led to a widespread connoisseurship, to the growth ofamateur instrumental ensem= ble music, and to amateur participation in masques and other forms of private entertainment. Many composers were themselves ‘amateurs in the se that they did not occupy silared positions (or that they were employed in a non-musical capacity). ‘The best of them can hardly be distinguished from the trac ‘professionals’ in the calibre of their work. They had received 4 rigorous training, possibly in connection with a university degree, and contributed in no small way to the more general cultivation of music amongst. the gentry.” ‘With the important exception of the song-schools, music did notnormally figure in the formal education of children. The song-schools themselves provided an excellent general and musieal education until the age of fifteen, or sixteen, but in many cases that was evidently the end of the matter. Further musical training could take the form of apprenticeship, which was ‘more suited to a trade than to a profession and which because ofits length ‘was heavily dependent on the calibre of the master:” or it could be through private tution (in the case of wealthier families), or as an optiona clement in the curriculum of certain schools or colleges. It is difficult to generalize because there was no single pattern of schooling as there is today. The curriculum of a grammar school was intended as a preparation for study ata tnivensty, but it was possible to go to university without having been 0 a grammar school, and it was possible to be well educated by the standards of the time without going to a university at all" The function of a grammar school did not necessitate the teaching of music, even in the purely formal sense applicable to the arts course of ‘4 university. Any musical experience gained in such an environment will ee ee expe nah hin lea ee amnion Weel sore = Regatta silo ghost Cote ‘Sanrio nb Rls Sr CL hoe eh Teas eee English Revotion (Orford, 1965, reps. 1986). 14-84, INSTRUMENTAL MUSIC, 1575-1625 499 have been incidental: one may assume for example that the pupils of a grammar school within the cathedral close (ast Salisbury) would frequently have attended choral services and may have benefited ftom the availabilty of tained musicians. But at some boarding-schools music was taken more seriously. Winchester and Eton colleges sil had their own choir schools and singing-men, and the proximity of these cannot have been without effect. Richard Mulcester, headmaster of the Merchant Taylors’ School, positively encouraged the use of music in education.” Chris’s Hospital actually had a full-time music-master, who in 1609 was the composer John Farrant; and other charity schools may have been similarly endowed."® ‘As we have seen, Benjamin Cosyn, a gifted composer, was organist of Dulwich College from 1622 to 1624, and of Charterhouse from 1626 until 1643, when the ‘organs’ were ‘prohibited’. In such cases the pupils received the equivalent of private tuition at school. As for the girls of that epoch and for long after, private tuition at home was the almost invari- able pattern. ‘At the English universities, Music was formally a part of the ars course leading to the degrees of Bachelor of Arts and Master of Arts; but it was based exclusively on the study of ancient musical theory as transmitted in Latin by Boethius in the sixth century, and there is reason to believe that it was largely a dead letter by the sixteenth. Nevertheless, educated men had Boethius’ De Musica a their disposal asa bass for philosophical arguments about the nature of music and its place in society, and, since the Latin language gave them no difficulties, it is not surprising that its ‘contents were widely known." More significant, however, was the intro duction of degrees in Music, the Bachelor of Music and Doctor of Music, at both Cambridge and Oxford. Some of the earlier recipients of these have faded into obscurity, but in the later sixteenth and early seventeenth centuries there is a surprisingly good correlation between excellence as a composer and the award of a degree. These degrees could be awarded immediately upon matriculation to men who had not studied at the univer sity—the qualification was the study of music over a period of years and the composition of an ‘exercse’—and were evidently prized by the com- posers themselves as contemporary title-pages make clea. ‘At this period, before the establishment of the Oxford chair in 1627 provided further encouragement, both Oxford and Cambridge were the Pace, Pao and Man oft Eglh Rea, 37. ‘id yp Gs dons rem Che Hap’, MT. 48-0909, 1-83 Af Fara came Ravercn (68-20), The Rebess Dow who inresed the ropend afer i609 canot have [ten the Fellow of Al/SulsLnown aa main, fore dedinis68 ech 7m 3. sndlow, "See he wel on The Chaerhouseby ‘Dated Crotchein MT. 490). 7 Sey bret conabuton tothe Hof Oxo ven, vol 500 INSTRUMENTAL MUSIC, 1575-1625 scene of pageants and other events, in which music played a part, for the ‘entertainment of visiting royalty. ‘The surviving inventories of deceased ‘members of Oxford University, too, show a regular pattem of private music ‘making. A somewhat exceptional instance of musical culivation is provided by the magnificent sec of part-books compiled by Robert Dow, Fellow of All Souls College and BCL, who died in 1588. It is not known for certain whether there actually existed in Oxford a circle of musicians capable ‘of performing such music effectively, but the will co preserve it in a practical format existed, Several of the colleges at both universities, of course, still kept the esablshment needed forthe regular performance of choral services; and while the exact pattems are now difficult to recover, there is enough circumstantial evidence to suggest a vigorous musical life. (On the subject of ‘academic’ music, lastly, we should note the foundation of the chair of music at Gresham's College in the City of London in 1596, the first holder being John Bull. His twice-weekly lectures were to be divided equally between theoretical and practical music—a surprisingly ‘modern and certainly an enlightened arrangement. ‘The musical writings of the epoch mirrored the academic distinction between the speculative and the practical. The Oxford don John Case published in 1988 his Apologia muses, a defence of music based on classical authorities, Two years earlier an anonymous author had published, again at Oxford, a Praise of Musick relying on Biblical and Patrstic writings. Some people thought that this coo had been written by Case." There is @ certain amount of speculative material—the science of proportions in its musical applications—in Morley's Plaine and Easie Introduction to Practicall Musick (1597) and Dowland’s translation of Ornithoparcus’ Microlagus (1609). But the climax of speculation occurred in Robere Fludd’s Uriusque cosmi historia (Oppenheim, 1617-24), in which he likened the universe toa musical instrument played by the soul." His views were atacked by Kepler and ‘Mensenie, whom he ad criticized; but it may be doubted whether his ‘ideas had much impact on musical chought in this country. ‘Writings on practical music took the form of instruction i singing (which included the reading of music and litle else), in che playing of instruments, ' Price, Pato and Mion, 39, Ball was rather guinly debe as ‘Doce of Muscke 1 the Kinge” Kin Mis, 4. The sion nto heoresl ah pect mi wo couse nae ne what wn moc ase sdopn afte inert my aril pernanes: oy po of ob ZEademiccoune” The tne principle war che maained ia Hesher®undaon wt Od ad ‘ee stingy cng tm te pcs, oe he hore, pao he mrcon "heformoconers) whch saved "On Case se JW. Bins Join Cae and The Pate of Musi, ML, 550974), 44 Where ‘he non of Te Pf Ma proved “SNGD, sv. Fla Ie the Trt meanda,pblhed in 6, chat conn the wea ‘De temple ae! INSTRUMENTAL MUSIC, 1575-1625 sor and in descant (i. counterpoint) and composition." Two rather different ‘but very brief treatises on notation had been attached to the monophonic jpaalters of 1561 and 1569 and their successors respectively. Morley’s publica tion of 1597 was by far the most comprehensive of all such guides."” Printed "manuals on instrumental playing were confined at this period to the plucked stringed instruments, especially the lute, the cittern, and the gittern. The carliest of these were based on books published in Paris by Adrian Le ‘Roy from 1551 onwards. The ater publications of Anthony Holborn (1597) and Thomas Robinson (1603, 1609) were more independent." ‘Deicant and composition were treated at length by Morley with numerous examples illustrative both of faulty and of good counterpoint. Much of his material was drawn from Italian sources, but everywhere his robust English good sense is apparent. No one could leam composition solely by reading a treatise, but Morley provided a foundation that could hardly be bettered. Yet techniques were constantly being refined; and the treatises of Coprario (Rules How to Compose, .1610, in manuscript) and Campion (A New Way of Making Foare Parts in. Counter-Point, 1613) broke new ground by effectively regarding the bass as the foundation.*® The ewo treat- ises are clearly related, and of the two men Coprario was undoubtedly the better equipped to write such a method: yet it was Campion’s chat ‘was printed, and reprinted again and again with Playford’s Bri Introduction up to 1687. ‘A final genre is exemplified by the chapter on music in Henry Peachamn’s ‘Compleat Gentleman (1622, with new editions in 1634 and 1661)."” Peacham is the heit to the tradition of Castiglione’s Il ortegiano and its English trans- lation by Sir Thomas Hoby (1561), and to the writings of Elyot and Ascham. ‘The general burden is that music is desirable and even necessary for health and equanimity—provided that itis not overdone. Fortunately Peacham’s wise moderation was no mitch for the enthusiasm of some seventeenth- ' Thenaon that wens on mc might bemserere citer "Weorese (peel or praca” ‘a mec one, gong beck st any mate io Jean des Mum eed 9 nemowing of Ue ange ‘ftps comsiered appropeae co ipeclato’ Sri edn Famboroagh, 197, Ravemcralts Bige Disoune (64. ed London and Anuerdam, 157%, Catabricken 1, with parle! MS venion (Bot Lib. Add. 17s) as been Sued by D, Her, A Cris Sty and Tramespon of & Bre Dione by Thomas Reverse ‘ML Muss, London, King’ Coleg, 1970 na Te ear scat nA nk and Ea uno (168), rated ora mana pubied by Le Roy in tty, a tanto of Le Roy gaem rtr of 155 pow lst See aio Ch. 7. 18, Helborne, Te Citar Shc 97: Retnon, thle of Mase (60: modem edn. by D. {Lagaden Pa 197) and Neve ihe Ls (1609), "Facil ofthe Cop este, ed MF. Bukofe (Los Angles, 195); Campion' is incaded she eon thie wot bP. Van (Oxford, 1909), and W. R, Dav (London, 1963), °F ne ef ss on Pecham by AR. Young. Henry Pech, Ben Jonson, andthe ‘Calcof Etch: Onin ME, Go Gop) losin and Hankey, “The Complest Gentecna' Mae Bed 6 (0H soz INSTRUMENTAL MUST 1575-1625 century amateurs, and che culture of the whole epoch was of a vital ‘hat could hardy have been achieved on sacha mills dit. a ‘This culture had derived its main nourishment from Italy. The love-affie with that country had not ceased with the absorption of the madrigalian idiom; it was a key factor in the development of declamatory song and dialogue in the early seventeenth century. England exported what it had leamt to Germany and the Netherlands in the context of the political and ‘matrimonial alliances of those days." England considered itself Protestant country, and its policies were designed to neutralize the power of Catholic Spain and France. This extended to the marziage of James I himself, and ‘was further enhanced by the marriage of his daughter Elizabeth to Prince Frederick, Elector Palatine of the Rhine, an event which Parthenia was published to celebrate. England's cultural standing in Europe was founded on its sef

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