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William Lawes: His life and works

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William Lawes: His life and works

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Content WILLIAM LAWES; HIS LIFE AND WORKS 11 by Murray Lefkowitz / n Volume I A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Musicology) June 1963 UMI Number: DP32402 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI DP32402 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 1346 UNIVERSITY OF SOUTHERN CALIFORNIA G R A D U A TE SC HO O L U N IV E R S IT Y PARK LOS A N G E LE S 7. C A L IF O R N IA This dissertation, w ritten by MMlkl.-MMQElM...... under the direction of h-XB..Dissertation Com mittee, and approved by a ll its members, has been presented to and accepted by the Graduate School, in p a rtia l fu lfillm e n t of requirements fo r the degree of D O C T O R O F P H I L O S O P H Y Dean .Z .g .é ..3 : DISSERTATION COMMITTEE Chairman CONTENTS PREFACE iii I A BIOGRAPHICAL INTRODUCTION 1 II "FOR YE VIOLLS": THE FANTASIAS AND AIRES 59 III THE "ROYALL CONSORT" 103 IV THE "HARPE” CONSORTS 134 V THE VIOLIN "SONATAS" 161 VI LYRA VIOL AND BASS VIOL SUITES 191 VII THE SONGS 222 VIII MUSIC FOR THE THEATRE 277 IX THE MASQUES 304 X RELIGIOUS MUSIC 350 CONCLUSION 383 APPENDIX A Extracts Concerning Rules for Division Playing from Christopher Simpson*s "The Division-Violist" (1667 ed.) 386 APPENDIX B Catalogue of Instrumental Works 392 APPENDIX C Catalogue of Vocal and Dramatic Works 405 APPENDIX D Selected Music 429 APPENDIX E Selected Bibliography 464 11 PREFACE The full extent and importance of William Lawes' work has not hitherto been known, not even to the few enthusiastic scholars who have made limited investigations. The reasons for the neglect of so rich a heritage of music are fourfold. First, Lawes' complete works have, until now, never been catalogued and only one or two of his important pieces have ever been published. Second, the sweeping generalities which have condemned the decadence of so much of the courtly arts of Jacobean and Caroline times have, by association, helped to keep Lawes' music in obscurity. Third, because of the composer's early death at the siege of Chester in 1645, his memory has been great ly overshadowed by the contemporary popularity of his old er brother, Henry Lawes, and the letter's close association with the foremost poets of the age, this despite the limited production and inferior quality of the older musician's work. And finally, William Lawes had the misfortune of being part of an unpopular era, an era which saw the royal household grow away from the masses of the English people to become oversophisticated in the extreme, an era which culminated in a bloody civil war, the execution of the King and the stringent edicts of a confused Commonwealth. iii . __ , Indeed, the age of the Carolines is only just now beginning to excite more popular interest. It is fitting, therefore, that the music of William Lawes be "awakened from its centuries-long slumber", that it be examined and sifted so that the finest of the composer's compositions may occupy their rightful niche in the performer's repertory. The task of locating, cataloguing, transcribing and evaluating Lawes' works has not been an easy one. I have to thank the United States Fulbright Commission for the original grant which enabled me to conduct my research at the University of Oxford from 1951 to 1953. I also wish to thank Dr. Raymond Kendall and Dr. Pauline Alderman of the University of Southern California for additional aid which has facilitated the completion of this book. To Professor J. A. Westrup, Heather Professor of Music at Oxford, under whom I worked, I extend my gratitude for valuable criticism. I further wish to thank Mr. C. B. Oldman of the British Museum, Dr. Hunt of the Bodleian I ■ . Library, Mr. Hiscock of the Christ Church Library, Dr. Carlton Sprague Smith of the New York Public Library, the staff of the William Andrews Clark Memorial Library in I ■ . . Los Angeles and the librarians of the Royal College of (Music in London, St. Michael's College in Tenbury, and the Various other libraries in which I worked or with whom I V have had correspondence. I am grateful also to the Lord Chamberlain and to the Sub-Dean of Her Majestie’s Chapel Royal at St. James's Palace for allowing me to examine manuscripts and certain signatures in the Cheque Book of the Chapel Royal, and to Dr. David Wodlinger of the Insti tute of International Education in New York. My thanks also to the three members of the English Consort of Viols, Mr. Marco Pallis, Mr. Richard Nicholson and Mrs. Elizabeth Goble, who instructed me in the art of playing the viol and allowed me to participate in their consorts, as well as to Mr. Thurston Dart, Mr. William B. Coates, Mr. John Hough, Mr. Denis Stevens and Miss Margaret C. Crum, all of whom have been helpful in offering infor mation which has been of value to this dissertation. , P ublication No. 64-2586 M u rra y Lefkow itz U n iv e rs ity of Southern C a lifo rn ia Volum e I published and copyrighted in 1960 as Volum e III of Studies in The H isto ry of M usic, edited by Egon We lies z (London: Routledge & Kegan Paul, L td ., 1960, 350 pp. Volum e n published in 1963 and copyrighted in 1962 under the title : W illia m Lawes: Select Consort M usic, tra n scrib e d and edited by M u rra y Lefkow itz. (Volume X X I of M usica B rita n n ica , fo r the Royal M usical A ssociation by Stainer and B e ll L td ., London). CHAPTER I A BIOGRAPHICAL INTRODUCTION The facts relating to the life of William Lawes, the man, are meagre indeed. They are confined to some know ledge of his family background, the dates and circumstances of his birth and death, a fleeting hint as to his early education, his presence in London from at least the year 1633, an anecdote or two--and that is all. Lawes, the King’s musician, however, presents a more rewarding avenue of approach, from the numerous glowing tributes paid to him by his contemporaries, by his activities in the "pri vate musick’ * ’ of Charles I, and from the accounts of a few musical chroniclers; but above all, it is through his music that we may know him. William Lawes was baptized in the Close at Salisbury Cathedral in the county of Wiltshire on May 1, 1602.^ His The date of Lawes’ birth has been the subject of notable error. Various encyclopaedias, dictionaries, books and articles have confused William Lawes, the subject of this study, with a second William Lawes, alias Coldbeck, from the year 1591 was successively a singer in the Cathedral choirs of Winchester, Salisbury, Chichester and the Chapel Royal. It is due to this confusion of person alities that the present William Lawes is referred to in many sources as the elder half-brother of Henry Lawes, and that his birth date is given in the early 1580's. Moreover, no evidence has been uncovered to even suggest that Lawes, 2 father, Thomas Lawes senior, was a bass choir singer who came, at an unknown date, from Dynder in Somerset to the small parish of Dinton, Wilts., where, on February 3, 1594, he married Lucris Shepharde, daughter of Jennie Shepharde, a widow. In Dinton, William’s famous older brother, Henry Lawes, was baptized on January 5, 1596. But at some time before William was born the family had moved into the Close at Salisbury, some eight miles distant, where Thomas Lawes received an appointment as a Lay Vicar in 1602. The Lawes home in the Close seems to have been one of the more im portant stone dwellings, since it boasted a private pos- alias Coldbeck, was any relation to William and Henry Lawes. This mistaken identity was first discussed and proven in detail by Henry Hatcher in his account of the Lawes bro thers in Old and New Sarum, Vol. VI of the History of Modern Wiltshire, edited by Sir Richard ColtHoare (London S. & J. Bentley, Wilson & Fley, 1843), pp. 623-7. William Lawes* baptismal date was also recorded by Hatcher, whose account was based on the entries in the Salisbury Cathedral Register and in the Penruddocke Register, pp. 67, 69, 73 and 75. Dora Robertson, Sarum Close (London: Jonathan Cape Ltd., 1938), pp. 167-71, apparently used Hatcher’s account in reporting the error. Willa McClung Evans, Henry Lawes (London* Oxford University Press, 1941), pp. xiv-xvi. also deals with the subject. The present author is able to add perhaps the final note to this case of mistaken identities, inasmuch as a comparison of William Lawes’ auto graph signatures in the several autograph volumes of his music in the Bodleian Library at Oxford and in the British Museum, with the signature of William Lawes, alias Coldbeck- in the Cheque Book of the Chapel Royal at St. James’s Palace, proves beyond any doubt that there were two William Lawes'. The signature of the older man is definitely in the old sixteenth-century script, whereas the signature of our William Lawes is in the new seventeenth-century style of writing. These signatures may be compared if the reader will see the signature of Lawes, alias Coldbeck, on the frontispiece of Edward F. Rimbault, The Old Cheque-Book. . . 3 tem door which opened into the Cathedral. This would suggest that Thomas Lawes senior was a man of at least moderate means and of some status within the Close. The family was certainly in adequate circumstances, for they were able to keep a servant, one John Luxon.^ Thomas and Lucris Lawes had, in all, five children. Besides Henry and William, there was one sister, Elizabeth, who was baptized on October 20, 1605, and two more brothers, John, whose birth date has apparently not been recorded, and 2 Thomas junior, christened on June 3, 1608. The latter remained all of his life at Salisbury and followed his father’s professions. John rose to greater eminence and became a "singing-man" at Westminster Abbey. Of William’s childhood and early education, apart from music, little if anything is known for certain. It is probable that he attended the free Grammar School within the confines of the Close, which was then run by a school- of The Chapel Royall (London; Oxford University Press, 1872), and that of William Lawes in the Bodleian MSS. Mus. Sch. B.2 or B.3. ^Hatcher, op. cit., p. 310, cited by Evans, op. cit. p. 15, n. 43. For a more detailed account of the Lawes family and life at Sarum Close in the early seventeenth century, see the latter work and also that of Roberston, pp. cit. o Hatcher, op. cit.. p. 624, cited from the Salisbury Cathedral Register, where the baptismal dates of all the Lawes children, except John, are recorded. 4 master of somewhat dubious merits. Master John Sharpe, who was supposed to instruct the children of the Close in the fundamentals of reading, writing, grammar, Latin, Greek and the Catechism. Of William's earliest musical educa tion, it is again not possible to be sure. Reared as he was in a home of fine musicians, it is likely that his first musical instruction came from his father. It is possible also that William, as a boy, should have been one of the choristers of the Cathedral, since the Lawes family was known for its fine voices. Indeed, much of the history of early English music might be told in the works of pro fessional musical families like the LawesIf young William was a chorister at Sarum, his lot could not have been a happy one, for the singing-boys at the time were under the supervision of an unscrupulous master, John Bartlett, whose treatment of the boys was such that it o finally developed into a full-fledged public scandal. The boys, who resided in the Choristers’ House in the Closed were neglected by Bartlett, who neither taught them the music lessons he was supposed to, nor provided for the food, clothing and other necessities which was their due. ^One has but to mention such musical families as the Bassanos, the Lupos, the Ferraboscos, the Laniers, Dowlands, Simpsons, Gibbons’ and Purcells to understand the validity of this statement. ^Robertson, op. cit.. pp. 172-4. 5 Nor did he oversee the discipline of the group, so that the choristers became disorderly in their behaviour and aroused the wrath of the Cathedral Chapter. Who William's friends were during these early years is again a matter of conjecture. His brother, Henry, was six years his senior and is known to have had devoted childhood friends at Salisbury, fellow choristers such as Edward Lowe and Francis Sambrooke. The former later be came organist of Christ Church in Oxford and copied some of William’s manuscripts. Sambrooke, a capable amateur musician, became an attorney. The latter also contributed commendatory verse to the Lawes brothers’ publication of Choice Psalmes in 1648 and is responsible, together with Lowe, for the copying and preservation of much pre-Common- wealth music. William Lawes, it seems liked to associate with boys older than himself, at least if the example of his later years is any indication. Undoubtedly, this was the result of his close association with his brother and the letter's friends as well as with other musicians who were older than himself. Salisbury and its surroundings were a stimulating area for a young lad of talent and musical ambition in the early seventeenth century. Sarum itself had a long and noble tradition of music, great organists, composers and excellent choirs of boys and men. The previous generation 6 alone had benefited from the work of John Farrant the eld er, one of a long line of English church organists and composers. When the elder Farrant left Salisbury it was finally his son, John Farrant the younger, who succeeded to the post of organist at the Cathedral. The young Farrant was Vicar Choral and organist there from about 1598 until his death in 1618. It may have been this musician who introduced Lawes to the organ and its litera ture. The Cathedral Choir, on the other hand, offered an opportunity for the boy to hear and perhaps participate in some of the finest performances of religious choral music then known, and to become familiar with a large part of the literature as well. The Sarum Choir had a formid able reputation for its excellent training. Thus, the noted English antiquarian, John Aubrey (b. 1626, d. 1697), tells us that "The Quire of Salisbury hath produced as many able musicians, if not more than any quire in this nation".^ In addition to the musical activity within the Close, much was also going on in those days in the field of secu lar instrumental and vocal music in the immediate vicinity of New Sarum. At Amesbury and Wulfall--the estates of ^John Aubrey, The Natural History of Wiltshire, written between 1656 and 1691,and edited by John Britton (London; J. B. Nichols & Son, 1847), pp. 80-1. 7 Edward Seymour, Earl of Hertford--the two great innovators of early Baroque English instrumental and vocal music, John Cooper (alias Giovanni Coperario) and Alfonso Ferra- bosco, held sway.l Nearby also was Wilton House, the estate of the Earls of Pembroke, who were generous patrons of musicians and artists. Both Hertford and Pembroke were benefactors of the Cathedral at Salisbury and were ever on the alert for exceptional talent for their magnificent ^Loc. cit. Aubrey states, "Jo. Coperario, whose real name I have been told was Cowper, and Alfonso Ferra- bosco, lived most in Wiltshire, sc. at Amesbury and Wulfall, with Edward Earle of Hertford, who was the great patrone of musicians." The activités of Coperario and Ferrabosco are difficult to follow from about the year 1610 to 1625. Aubrey, ibid., p. 88, also states that "Alphonso Ferrabosco the son, was Lord Philip (the first’s) HPhilip Herbert, 4th Earl of Pembrok^ lutenist. He sang rarely well to the theorbo lute. He had a pension in Baynard’s Castle(Pem broke’ s London hous^.' * It seems likely that he should also have been active at Wilton. At the same time Ferrabosco is known to have been instructor in the art of music to Prince Henry, and after the letter's death, to Prince Charles, as well as one of the viols or violins in the King's private music since 1604. In fact, he was one of the musicians who played at the funeral of Queen Elizabeth; see Walter L. Woodfill, Musicians in English Society from Elizabeth to Charles I (London: Oxford University Press, 1953), pp. 800-3; p. 310, n. 87, n. 104. Coperario too seems to have been officially in the King's music. He was one of the musicians of Prince Charles and taught him to play viol da gamba; ibid., pp. 302-3, 309, n. 81. At the same time it is suspected that he taught John Egerton, future Earl of Bridgewater, at his Ashridge estate. It may well be that the King's musicians circulated a good deal more than we have hitherto believed, but in any case, until further research reveals more complete details in re spect of both Coperario's and Ferrabosco's activities dur ing the first quarter of the century, their presence or rather the exact dates of their presence in Wiltshire can not be ascertained with any degree of certainty. 8 household establishments. It is not surprising, therefore, that Edward Seymour interested himself in a precocious child like William Lawes and indentured him to his own household under the musical tutelage of Giovanni Coperario. Thomas Fuller supplies us with the full account; "William Lawes son of Thomas Lawes a Vicar Choral of the Church of Salisbury was bred in the Close of~~ that City, being from his Childhood inclined to Musick. Edward Earl of Hertford obtained him from his Father, and bred him of his own cost in that Faculty, under his Master Giovanni Coperario an Italian, and"most Exquisite Musician. Yet may it be~saidthat the Schollar in time didEqual, yea Exceed his Master. "Heafterwards was of the Private Musick to King Charles, and was respected and belovedof all such Persons, who cast any looks towards Vertue and Honour. * ' There is no reason to suppose that Fuller's account is not authentic, excluding, of course, the statement that Co perario was an Italian. The latter was in fact an English man, John Cooper, who, it is rumoured, went to Italy some time before 1604, and affected the Italian nom de plume 2 upon his return. Anthony Wood, in-his unpublished notes Thomas Fuller, The History of the Worthies of Eng land (London; J. G. W. L. and W. G., 1662), under the section Wiltshire, p. 157. Fuller lived from 1608 to 1661. His book was published posthumously. It is significant that William Lawes was the only Wiltshire musician whom Fuller considered of sufficient stature to be honoured in his volume. 2 Besides Aubrey, Roger North (1650-1734), perhaps taking his cue from the latter, says that Coperario "was plain Cooper but affected an Italian termination". Mu si call! Gramarian, edited by Hilda Andrews (London; Oxford Univer- sity Press, 1925), p. 10. It has often been stated that Coperario went to Italy, but as yet no definite proof of this has been forthcoming. See also the remarks of Manfred 9 on the lives of English musicians which are in the Bodleian Library at Oxford, copied Fuller’s account of William Lawes verbatim into his own notes concerning the composer. It is significant, however, that he crossed out 'an Italian'. He did not change any of Fuller’s other state ments but added a list of printed publications in which Lawes’ works were to be found, and the following note: 'Will: Lawes of y® private musick to K. Ch. I and excellent composer for instrumentait musick--but to indulge the ear--he broke sometimes y® rules of mathe matical 1 composition. 'An improver and approver of the Lyra-viol. 'His things before and after y® restoration alwaies culled out.'1 Since it was Benjamin Rogers, the organist and composer, a contemporary of William Lawes, who supplied Wood with a good deal of his material and critical comments for the manuscript, we have a tacit acknowledgement that Fuller's information is indeed correct. At what age Lawes was apprenticed to Coperario we can only guess from Fuller's statement that William was inclined to music from his childhood and that the Earl 'obtained' him from his father. From this the author Bukofzer to this effect in the facsimile edition of Co perario 's Rules How to Compose (Los Angeles: Ernest E. Gottlieb, ÏWI) ,. ^Anthony Wood, unpublished manuscript notes on the lives of the English musicians in the Bodleian Library at Oxford (Wood D. 19 (4), No. 106, folio 83%j. 10 suggests a date of c. 1612, when the boy was ten years old Fuller makes it quite clear, however, that Lawes left his parents and Sarum Close to join Hertford's household. What is not clear, is exactly where William was entrusted to Coperario's care and tutelage. Was it at Amesbury or Wulfall nearby to Salisbury, or was it at the Hertford's London house in the big city? And was his brother, Henry, also apprenticed to Coperario and was he with William? Neither of these questions can be answered with certainty. Coperario's activities do not seem to have kept him in any one place for any length of time. In fact, it is possible that the student may have been with his master in several places between about 1612 and perhaps 1620, in cluding the Wiltshire estates of the Earls of Hertford and Pembroke and the Royal Court in London, among others. As for Henry, there is positively no evidence that he studied with Coperario or ever left Salisbury before he was about twenty years of age.^ If he had been with William, it seems likely that Fuller or one of our other sources would have mentioned it. And one cannot by any stretch of the imagination compare Henry Lawes' music with the essentially polyphonic style of Coperario. The former neither worked in Coperario’s forms nor did he write for instruments, whereas it will be shown in the ^See also the remarks of Bukofzer in Coperario, op. cit, intro. , p. , and those of Evans, o£. cit. , p. %, llWf I ■ I i . .1. I I — I — I I . - — -....... I . -I...... ..I I I I I— i I I I ' — ■ ■— i — — I 11 succeeding chapters that William Lawes' music shows Co perario' s influence to a marked degree, contrapuntally, formally, harmonically, in the instrumentation and other wise. As Coperario's pupil it is probable that the young William Lawes had certain duties to perform in accordance with the seventeenth-century code of apprenticeship. It is not too farfetched to assume, for example, that the boy acted in the capactiy of a servant to this tutor, help ing him with his musical instruments when the latter had to travel, copying parts from his scores, securing supplies, reading over his music, etc., this in return for his les sons and his teacher's good favour. The course of study which the boy must have followed under Coperario may be understood from the letter's manuscript treatise, entitled Rules How to Compose.^ This includes the traditional contrapuntal rules of intervals and melodic progressions (with the significant difference that Coperario counts his intervals from the bass upwards), four-part harmonic progressions regulated by the bass, rules for figuration or "division", the handling of suspensions and dissonances, especially in cadence, and imitation or "fuge". Again, in the following chapters we shall see how well Lawes plastered his lessons. Indeed, it is possible that Co- I lpp. cit., passim. 121 perario may have written the treatise for his young stu dent. The date, c. 1610, which has been ascribed to the manuscript, is not too far off to detract from the plausi bility of this assumption. It is likely also that under Coperario's tutorship William Lawes acquired a thorough knowledge of the musical instruments of his day. These were first and foremost the viol da gamba, from the small treble viol to the large 'consort bass'. From his compositions we may also assume that he was a competent performer on the violin, since by far the largest proportion of his works feature that instru ment. It is also probable that he studied the theorbo- lute, the lyra viol and division viols, the organ, and perhaps other keyboard instruments as well as the chromatic harp. In fact, if Henry Lawes' statements are to be accepted at face value, then "neither was there any instru ment then in use, but he compos'd to it so aptly, as if he had only studied that'*.^ As Coperario's pupil too, Lawes must have had the opportunity of listening to and taking part in the per formance of a great deal of music, and probably with many of the best musicians of the age. Even at this period in his life he may have made the acquaintance of some of In his introduction To The Reader, of the Lawes brothers' Choice PsaImes,(London: Humphrey Moseley, 1648), q.v. on pp. 4'2-i-43 . 13 his lifelong friends and colleagues, such as Alfonso Ferra bosco XI, John Jenkins, and Simon Ives. And with others of Coperario*s pupils, including some influential members of the nobility, Lawes may have taken part in "consort", i.e. chamber-music playing. Indeed, it is not impossible that through this medium he may have been brought into contact with the two Royal Princes, who were also studying music with Coperario, as well as Ferrabosco, at the same time. In particular, it may have been during this period that Lawes first met the future Charles I. The then Prince Charles was studying bass viol with Coperario at about the same time that Lawes was the former's pupil.^ It is en tirely possible, therefore, that they may have played in ' ’consort" together. Indeed, the King's immense respect for William's ability possibly began here, leading to the remark by Fuller that Charles I was particularly fond "of his deare servant Will: Lawes . . . whom he loved when living, and commonly called the Father of Musick".^ It is significant that Lawes' friends, apart from his brother, were in the main instrumental composers. Co perario himself was primarily an instrumental musician. ^Woodfill, o£. cit., pp. 302-3, 309, n. 81. We know that Charles I liked to take part in "consort" playing, since, according to John Playford, he was exceedingly fond of playing "those incomparable Phantasies of Mr. Coperario to the Organ", Introduction to The Skill of Music (London: H. Playford, 1697 ed.). 2 Fuller, loc. cit. Evans' claim, op. cit., p. xvi. 14 So were Ferrabosco, Jenkins, Ives and the rest. From Coperario and perhaps Ferrabosco, both older men with a great deal of knowledge and experience, William had more than ample opportunity to learn his art well. Ferrabosco was considered one of the foremost exponents of viol-play ing in England. Indeed, his fame as a violist had spread over all of Europe and his numerous compositions for viols were popular abroad. Idhxle Ferrabosco is not known to have taught the younger man, Lawes later made use of one of Ferrabosco's bass lines in setting one of his best works, paying tribute to the older composer in the title and referring to him simply as "Alphonso".^ In another of his finest compositions William did the same for Coperario, thereby honouring both men. The importance of Coperario and Ferrabosco in the development of early English baroque instrumental style is paramount. They may be said to have taken the first significant steps in transforming the that Fuller confused Lawes with the older William Lawes, alias Coldbeck, in making the statement that the King called him the "Father of Musick", has no foundation in fact. There is no evidence that Lawes, alias Coldbeck, was ever in the service of Charles when the latter was Prince. Nor is there any music extant by this man or any record of any significance except that he was a sing- ing-rnan" in the Chapel Royal. Moreover, Coldbeck seems to have been an unstable personality, to say the least, fre quently changing positions and under the charge of possess ing two wives. The fact that Charles I was two years William Lawes* senior also does not alter the case, since the phrase "Father of Musick" primarily denotes ability and not necessarily age. ■ ' j f 211-13 more about this composition see Chapter Vi, pp. 15 older "motet style for Instruments" into characteristically instrumental writing. This fact was recognized by Roger North in the early eighteenth century. He states: "Upon the wearing out of this dull style £^i.e. the imitation of vocal polyphony] there arose a set of musicians who were deservedly famous for the advances they made in Improving y® musicall style, as Alfonso Ferrabosco, Coperario (who by y® way was plain Cooper but affected an Italian termination) & others as may be found in old musick books."! Lawes' music is in fact indebted most to these two instru mental pioneers of the transition period between late Renaissance and early Baroque. He is their rightful heir and successor. It is their forms which he uses, and ex pands, their counterpoint and harmonies which he develops, their instrumentation which he employs and their 'Italian- isms' and dissonances which he intensifies; the major difference being that, as Fuller observed, "the Schollar in time did Equal, yea Exceed his Master*.^ Unlike his older colleagues William Lawes possessed that vital spark which distinguishes between genius and what Bukofzer called the "first-class second rater*.^ We do not know how long William Lawes studied with Coperario, nor do we know when and where Lawes was employed before his appearance on the Court scene in 1634 as the ^North, o£. cit., p. 10. ^Fuller, loc. cit. ^Coperario, op. cit., intro., p. £3]. 16 composer, together with his friend Simon Ives, of the music for James Shirley’s monumental masque The Triumph of Peace. He may have remained in the service of the Earl of Hertford’s family. It seems likely that the Earl, having reared the boy from childhood and havin g% paid for his training under Coperario, would have expected some service in return for his patronage.^ Indeed, Lawes him self must have become attached to the Earl and his family. But the pages are quite blank during these years. Even an extensive search of his several extant autograph vol umes does not help to establish Lawes’ exact whereabouts from about 1620 to 1633. Once again we are forced to speculate. There is, however, one significant point concerning the composer’s extant vocal music which may offer a clue. As it will be shown in Chapter VIII, Lawes wrote much of his vocal music for the theatre. This entire production falls between the years 1633 and 1642. Not a single song or instrumental composition has been identified with a play or court masque prior to this period. This fact alone would tend to support a theory that William Lawes was otherwise engaged during this time, namely, in the composition of his larger contrapuntal chamber music for Edward Seymour, Lawes’ original patron, died in 1621. He was succeeded in the earldom by his grandson, William Seymour (1588-1660). 17 viols and violins. If the composer was still in the employ I of the Hertford family or some other of the nobility where I"consort" playing was the particular delight of the patron, it would have been only natural for Lawes to produce compositions in that vein. Then too, he may still have been under the influence of Coperario and Ferrabosco at this time.^ Later, when William joined his brother at the Court, he may have begun his period of vocal and dramatic composition as well as the lighter concertante style of dance music, such as the later version of the Royall Consort. It is known that Coperario, like Ferrabosco, re mained in the service of the Court until his death. Thus he continued as Prince Charles' musician until the latter succeeded to the throne in 1625, and immediately thereupon 2 was made special "Composer of Music to the King". More over, a petition dated May 12, 1625, suggests that Co perario actually had a group of his own within the larger musical establishment run by Nicholas Lanier, who was then "Master of the King's Music".^ In this petition a John ^Coperario died in 1626 and Ferrabosco in 1627. ^Woodfill, op. cit., pp. 303, 311, n. 114; cited from the Calendar of State Papers Domestic, 1625-26, p. 569 (London: Longman, Green, i860). ^Woodfill, op. cit., p. 309, n. 81, cited from the Historical Manuscripts Commission Reports, 23, Co^er MSS., 195 (London: H. M. Stationery Office, 1888-1889); also 18 Woodington affirms that he had been employed "in Coper- ario’s music" for three years. This may be merely a refer ence to the fact that Woodington was one of Prince Charles' musicians who were under the supervision of Coperario, but it does indicate that Coperario was in charge of his own group. Moreover, both Henry and William Lawes were rumoured to have been in the service of Charles before he ascended the throne. While this is entirely possible and the brothers Lawes may indeed have been in some way con nected with a group headed by Coperario from about 1620 to 1626, no definite proof to this effect has as yet turned up.^ If Coperario was in a position of influence, however, it seems natural to assume that one of the first to have benefited by it would have been his most talented student. Lawes may, therefore, have been in the service of the Court long before his actual appointment in 1635. Evans has pointed to the fact that Henry Lawes seems to have established himself in London from about discussed by Bukofzer in Coperario, o£. cit., p. ^2j. Several such groups actually existed"mthin the King's larger musical establishment; see Woodfill, op. cit., pp. 186-7. --- ^Hatcher, o£. cit., p. 627, on undisclosed evidence, states that William, **Before he was twenty-three years of age, . . . was selected as one of the private musicians to Prince Charles, and when his royal patron ascended the throne, he was continued in the same post, with additional marks of favour." 19 the year 1615.^ If young William Lawes spent much of his time under Coperario*s instruction at the Hertfords* London house, then it was probably during this period that the two brothers, drawn together in a large and strange me tropolis, away from home and parents, developed that close attachment which characterizes their relationship in later years, a relationship which prompted the Royalist poet, Aurelian Townshend, to describe them as 'Brothers in blood, in Science and Affection, Belov*d by those that envie Their Renowne**.2 Henry Lawes, at the time, was a lad of twenty, probably seeking his fortune in the big city with an eye to establishing himself at Court.^ William was a boy of thirteen, still engaged in his music lessons and already under the notice of the Court. When we read the many contemporary accounts which describe Henry as a most benevolent and kindly individual, admired, beloved and respected by all who knew him, we can well understand that the young man must have felt a great responsibility for his talented young brother's welfare in London. William, on the other hand, was in a position to introduce his older brother to influential courtiers and musicians. ^Evans, 0£. cit., p. 22. ^In his commendatory verse in the Lawes brothers' Choice Psalmes (London: Humphrey Moseley, 1648). ^Evans, 0£. cit., pp. 21-3. 20 Through William, Henry Lawes may have become acquainted with Coperario, and through the latter he may have been recommended to teach the children of John Egerton, soon to become Earl of Bridgewater. The relationship between Coperario, the Egertons and Henry Lawes is established by Coperario*s treatise. Rules How to Compose. This manuscript is known to have been in John Egerton*s possession before 1617, the year Egerton received his title.% Egerton him self may have studied with Coperario and had the Rules copied out for him by a scribe. Henry Lawes taught the Egerton children, though probably not from Coperario*s text. Thus, it is likely that in some way all three were known to each other and may have benefited from their association.3 Undoubtedly, William and Henry Lawes entertained hopes of rising to the highest position a musician in seventeenth-century England could hope to attain, that of "musicians in ordinary** in the "private musick* of the King. The Royal Court in London was the centre of English cultural life, in music as well as in the other arts. ^Ibid., p. 25. ^Egerton signed his name twice on the title page, once before 1617 as John Egerton, and again after 1617 as J. Bridgewater. See also Evans, cit., pP. 24-5, and Bukofzer in Coperario, 0£. cit., intro., p. [_2J. ^This relationship is suggested by Evans, op. cit., p. 25, and Bukofzer in Coperario, op. cit., intro., p.[3j 21 literature and sciences. The musical establishment begun by Henry VIII had grown to the proportions of a great academy and the Stuarts made ample use of it to display the power and magnificence of the Crown and to indulge their tastes for fine music. The best musicians from all over the British Isles were drawn to the Court for the prestige, security, artistic stimulation and better pay which the King* s Musick and the Chapel Royal offered them. The English monarchs also attracted many foreign musicians who brought with them new ideas, new techniques and new styles in music from abroad. Competition was keen as the English as well as Italian, French and Dutch musicians attempted to captivate the sharp ears of a sophisticated aristocracy, many of whom, including the King himself, were discriminating musical amateurs. Thus, the society which the Lawes brothers hoped to invade was well informed on matters of music and art, and highly exclusive. But in that age an artist*;s ambition to penetrate court circles could not be fulfilled on the strength of the applicant*s ability alone. There were two necessary adjuncts: to have come from a family of recognized and famous musicians, and to have the recommendation and support of a powerful patron. It has not yet been established whether the William Lawes, alias Coldbeck, who had been a Vicar Choral at Salisbury, was any relation to William and 22 Henry Lawes. The first William Lawes succeeded in becom ing a Gentleman of the Chapel Royal in 1602 and in at least, as Evans observes, establishing the name of Lawes in the music at Court, if only in the Chapel. In Salis bury too, one of the centres of English musical training, the Lawes family was well known for its musicians. As for powerful influence, what better patrons could William and Henry desire than the Pembrokes, Bridgewaters and Hert fords? William Herbert, third Earl of Pembroke, became Lord Chamberlain of the Royal Household in 1616. A native of Wiltshire, he was regarded as a special benefactor of Salisbury and its music and maintained his own elaborate establishment at Wilton House, a few miles distant. Like Edward Seymour, Earl of Hertford, Pembroke was also a great patron of musicians. Next to Buckirglam he was the most influential man in all of England. It is significant that Pembroke, who was also a poet of some ability, had several of his poems set to music by both William and Henry Lawes. William Herbert's brother, Philip, fourth Earl of Pembroke, was a great friend of cHarles I who often visited him at Wilton. It was Philip Herbert who, together with Charles I, petitioned the Dean and Chapter of Salisbury in 1632 in order to secure a Vicar Choral's 9 place in the Cathedral for the elder Thomas Lawes.^ ^Evans, pp. cit., pp. 33-4. ______ 2por these petitions see Evans, op. cit., pp. 69-71. 23 Philip also attained the position of Lord Chamberlain for a brief period after his brother was made Lord Steward in 16251 And it was during Philip's term of office that Henry Lawes was appointed Epistoler of the Chapel Royal in 1626. Of the private life of the Lawes brothers in London during the late twenties and early thirties, little is known. Apparently they mixed freely in the company of poets, actors and musicians that surrounded the Court. In particular, William, Henry, and John Wilson another composer destined for the King's 'private musick*, seem to have hit it off well. The following anecdote from the manuscript of Jests and Stories by Sir Nicholas L'Estrange describes one of their nightly visitations to the local "pub": 'Willson, and Har: and Will: Lawes were at a Taverne one night; Wilson being in worst case of the three, swore he would Quarrel 1 with the next Man he mett, who was a meere stranger and a sober gentleman; vAiome he thus accosted; are not you a Catholicke? yes marry am I; Then ya're a Knave says he; the Gentl: having past by a little way, stepps backe to him; and bids him not swallow an Error, for sayes he, I am no Catholicke: why then ya're a scurvy Lying Knave sayes Willson, upon that out flew their swords, but the Lawes parted them presently.'1 Harry, Will and "Jack" are probably the original "Three Merry Boyes", referred to in William Lawes' popular catch. ^British Museum, Harleian manuscript 6395, Story No. 361. 24 ’ 'The Mi semen Were But Seven*. Indeed, the numerous catches and rounds of the Lawes brothers and Wilson were possibly dashed off on the spot, in the tavern of an evening, and immediately sung by the three friends. Thus, the text of another of William's catches begins, "If you will drink 2 Canary at the Paul-head, let's meet old Harry . . ." The first of the little band to be appointed to the select group of the King's private musicians was Henry Lawes, \àio in 1631 was sworn in as a 'musician in ordinary for the lutes and voices' in the place of Robert Marsh, deceased.3 During this period there is still no record of William being employed in any capacity at the English Court. And yet William's fame seems to have grown suffi ciently for the great parliamentarian, Bulstrode White- locke, to choose him for one of the most important com missions that any composer enjoyed during the century, the music for James Shirley's Triumph of Peace, which was presented by the four Inns of Court for Charles I and his ^This catch may be seen in Chapter VII, p. 275-276. ^In Oxford, Bodleian Library, Mus. Sch. B.2, p. 109. Also printed in Hilton's Catch that Catch Can (London: J. Playford, 1652) and Playford* s Musical Companion (London: J. Playford, 1667, 1673 ed ). Also E. F. Rim- bault. Rounds, Canons and Catches of England (London: J. B. Nichols and Sons, 1865). ^H. C. de Lafontaine, King's Musick (London: Novella and Co. Ltd., 1909), p. 75. 25 Queen early in 1634.^ The younger Lawes apparently suc ceeded well in this task, for from this date his name appears much more frequently in the accounts of the pro ductions at Court. As a matter of fact, even in the pre vious year William had composed a piece of music for Ben Jonson’s Entertainment at Welbeck, where he seems to have been a part of the Royal entourage of the King, who was then on his way to Scotland to accept the Scottish Crown.^ This entertainment was produced at Welbeck Abbey by the Earl of Newcastle, with whom the Lawes brothers seem to have had some relations later on. How William happened to be a member of the King's party, it is difficult to deter mine. Henry, ^ o already had his Court appointment and still held his post as Gentleman of the Chapel Royal, would naturally have accompanied Charles, since it is a matter of record that the Gentlemen of the Chapel did attend the King on his progress to Edinburgh. But William's| connection is puzzling, unless he was indeed in some manner unofficially attached to the Chapel or the Sovereign's household. There is no mention in the Cheque Book of the Chapel Royal of William Lawes ever having been a member of the Chapel, and yet, in the Chapel Royal Anthem Book of ^A full account of this masque is given in Chapter IX, pp.314-330. 2 Lawes' music for this entertainment is discussed in Chapter VIII, p. 291-292. 26 1635, there are two anthems clearly by him.^ We know too that William composed a good deal of religious music. All of this, in addition to previous suggestions and facts presented here, indicates that he was active in the King's Musick, if not yet acknowledged by a regular appointment. By this time, 1633, Henry Lawes was well on his way toward achieving fame as a composer of continuo song. He had an excellent voice and was well liked and respected at Court. The Royal poets fawned over him and were only too pleased when the King's musician would set their lyrics to music. William Lawes too enjoyed this popularity among the Court poets, and his songs in the declamatory vein are quite similar to those of his brother. Though less in quantity they are by no means inferior in quality. Will- iam&s chief poets were all courtiers of one type or another; Sir John Suckling, George Sandys and Thomas Carew, all mem bers of the King's privy council; Robert Herrick, Chaplain to Buckingham; William Davenant, dramatist for the King's Men Players and later poet-laureate; James Shirley, a member of Gray's Inn, and many others. In fact, both William and Henry Lawes shared in the services of all these men, although William seems to have preferred the poetry of the above-mentioned writers most of all. ^British Museum, Harleian manuscript 6346. See the discussion in Chapter X, pp. 380. 27 Isolated instances over the next decade strongly suggest that William and Henry worked closely together in their duties at Court. In 1634, after the success of the Triumph of Peace, Henry Lawes did the music for Carew's masque, Coelum Britannicum, and shortly afterwards he was busy preparing the music for his friend John Milton's masque of Cornus, which was to be presented at Ludlow Castle on the Welsh border in honour of theEarl of Bridgewater's inauguration there on Michaelmas Day. It is not known whether William Lawes assisted his brother in this pro duction by writing the instrumental music for the masque. None of William's works has been identified with Cornus, despite the fact that modern editors have furnished their editions with instrumental pieces by the younger brother.^ The possibility does exist, however, that William was at Ludlow Castle with his brother and did help with the music. Later in the same year, both Lawes' appear to have taken part in some activity at Harefield House, the estate of the Countess of Derby, grandmother of the Egerton children.^ ^See, e.g., the edition of the Masque of Comus by Sir Frederick Bridge (London: Novell© andCo. Ltd., 1908), in which seven of William Lawes' instrumental com positions from the Royal1 Consort and Playford's publica tions were included. ^In an uncatalogued manuscript belonging to the Hastings Library and now at the Huntington Library, the following items are to be found in the records of the expense of the stables; "Gate Mr. Lawes horse . . .xi’ ^", 'To Hussie for fetching Mr. Lawes horse & his brothers from Lond . . .ii® ii“ . Cited by Evans. o£. cit., p. 107 28 At this time, too (December of 1634), William wrote music for the production of William Davenant*s play. Love and Honour, which was produced at the Blackfriars Theatre by the King's Men Players on December 12. It was after this performance that William Lawes finally received his appointment as one of the King's musicians in ordinary "for the lutes and voices", on April 30, 1635.^ He took the place vacated by one John Laurence, deceased. John Wilson, the Lawes brothers' friend, also received his appointment in this year. William's salary was to be forty pounds per annum and in the months that followed he received the customary allowances for livery that were 2 the due of every Court musician. In the following year, William and Henry collaborated on their first major work together. The Triumphs of the Prince d'Amour, a masque written by William Davenant for the Middle Temple of the Inns of Court. The occasion was the celebration of the arrival inEngland of the King's nephews, Charles and Rupert, the famous Palatine Princes. In August of the same year, 1636, the Lawes brothers par ticipated in Archbishop Laud's preparations for welcoming the King to Oxford, and again William and Henry worked ^Lafontaine, o£. cit., p. 91. ^Lafontaine, op. cit., pp. 91, 98-9, 101, 105-6, 107. In March 1636TDoth William and Henry Lawes received ten pounds apiece for the purchase of two lutes; ibid., p. 93. 29 together. Three plays, which required much incidental music, were performed for Charles I during his short stay. William's activities in the dramatic field from this time increased many-fold and are traced in some detail in Chap ter VIII. Another work upon which the brothers collaborated was Sir John Suckling's Agiaura, which was presented at the Cockpit-in-Court in February of 1638. The record indicates that in the composition of dramatic music, William and Henry had by this time practically become a team. It is not possible to say, however, that Henry Lawes was respon sible for the vocal music of these productions and William Lawes, the instrumental pieces. Practically no instrumen tal music, apart from the letter's short "simphonies" for the masques, has been identified with the plays for which the brothers wrote. It is true, of course, that William was much the more famous for his instrumental compositions. (Indeed, Henry seems to have written hardly any instrumen tal music at all.) Yet, once again the record shows that much more of the extant vocal music which has thus far been identified with plays and masques upon which the two collaborated, is by William Lawes rather than by his older brother. No doubt William wrote instrumental music for these productions as well, but his activity in the vocal dramatic field deserves far more than just passing mention, as a later chapter will prove. 30 It is likely also that many of William* s instrumental pieces, which we have in the form of short dance tunes in some of the publications of John Playford after the middle of the century, were originally composed for these per- 1 formances. Some of these have been identified. The year 1639 already brought with it the distant rumblings of civil war. The outbreak of the Bishops* Wars in the North saw King Charles and many of his loyal followers depart for the battlefield. Among those with commissions in the King's army were many members of the Royal household, including some of Lawes' poet friends. Sir John Suckling and Richard Lovelace, whose poems the Lawes brothers had set to music. William's activities during 1639 and 1640 are difficult to trace. He wrote music for only one play. Suckling's Tragedy of Brennoralt, and no mention of him, except in the King's household accounts, has otherwise been found. Nor has any of his other music been traced to those years. As a young and loyal cavalier, he may well have joined his poet friends and his King in the army, but no evidence for this assump tion has been discovered. We do know that in 1640 Henry Lawes was living at the "Little Almonry". Robert Herrick was also a tenant here at the same time. It is likely Ipor the identification of instrumental pieces in Playford's collections see Chapter IX, pp. 342 ff. 2p. W. Moorman, Robert Herrick (London; John Lane, 1910), p. 121.________ _____________________________________ 31 that William, too, if he wasn't with the King's army, was living here in London, with his brother and the poet whose verses both of them cherished for their songs. This year, 1640, also saw the death of Thomas Lawes the elder, at Salisbury, and it is probable that the brothers journeyed to Sarum for the burial in early November. In 1641, William Lawes wrote music for three more plays, and that is the last we hear of him until his death at the Siege of Chester in 1645. In 1642 Parliament closed the theatres and by March 1643 Charles I had commanded his entire household to report to the Court at Oxford. There are no records of William Lawes having produced any music during the Court's residence at Oxford, though he may well have done so. However, at some time during the Oxford reign he received a commission and enlisted in the Royalist forces. Thomas Fuller supplies the account of what followed: In these distracted times his [william'^ Loyalty ingaged him in the War for his Lord and Master and though he was by General Gerrard made a Commissary on désigné to secure him (such Officers being commonly shot-free by their place, as not Esposed to danger,) yet such the activity of his Spirit, he disclaimed the Covert of his Office, and betrayred thereunto by his own adventurousness was casually shot at the Siege of Chester, the same time when the Lord Bernard Stuart lost his life. Nor was the Kings soul so ingrossed with grief for the death of so near a Kinsman, and Noble a Lord, but that hearing of the death of his deare servant William Lawes, he had a particular Mourning for him when dead, whom he loved when living, and commonly called the 32 Father of Musick.^ Fuller's account of Lawes' death has been interpreted by some to mean that the composer strayed too near the firing line and was accidentally shot. This interpretation, how ever, does not appear to be entirely the case. To under stand the circumstances of Lawes' death it is necessary to review the action which took place at the battle of Chester in 1645.2 Charles I was on his way up from Hereford to relieve the beleaguered city of Chester near the northern Welsh border, thinking afterwards to continue north and effect a junction with Montrose's main force in Scotland. The parliament general, Poyntz, who was informed of the King's intentions, drove his forces hard in an attempt to catch Charles at Chester. Upon approaching the city, on Septem ber 23, 1645, the King sent Sir Marmaduke Langdale, with a strong force of cavalry, over Holt Bridge toward Rowton Heath which was a few miles south-east of the city. During ^Fuller, o£. cit., p. 157 (Wiltshire). 9 The following account of the battle of Chester and the Campaign of Rowton Heath is based on the details in Samuel R. Gardiner, History of the Great Civil War 1642-9 (London; Longmans, Green, and Co. Ltd., 18897, Vol. II, pp. 323-5; also Edward Clarendon, The History of the Re bellion and Civil Wars in England (Oxford; Printedat the theater, 1703), Vol. tl, pp. 549-50. An incomplete account was also given by Bulstrode Whitelocke, Memorials of the English Affairs . . . (London: Nathaniel Ponder, TF82), p. 160. 33 the ensuing battle Colonel Jones, the Commander of the parliament forces, fell back in order to join hands with General Poyntz who came to his support. This movement was erroneously seen by the Royalists as a retreat. They immediately started in what they thought was "pursuit", and so did many of the garrison and townspeople of the city who ran to join them. It was probably at this point in the battle that William Lawes "disclaimed the Covert of his Office", and like the others ran to join in the "rout". In the meantime Jones had joined with Poyntz and the whole of the rebel forces turned and charged their onrushing pursuers, who were then virtually cut to pieces by Poyntz*s cavalry. It was one of the bloodiest slaugh ters of the war. When the smoke of the battle was over, two of the many hundreds who fell were the Lord Bernard Stuart and William Lawes, A tablet in the city wall at Chester still marks the spot where King Charles looked down to see the utter annihilation of his forces there, on September 24, 1645. A second glance at Fuller's statement concerning Lawes' death will show that it is not inconsistent with the facts as outlined in the above account of the battle. To this we may add the statements by Henry Lawes in his dedicatory remarks to King Charles I in the Choice Psalmes, in which he affirms that his brother "fell a 34 willing sacrifice for your Majestie"; and again in his epistle To The Reader he says that William "lyes in the Bed of Honour, and expir'd in the Service and Defence of the King his Master". John Jenkins, in his elegaic dia logue "on the sad losse of his much esteemed Friend, Mr. William Lawes, servant to His Majesty”, also says: Treble: What caus'd his fate? Bass: A fatall breath of honour Challeng'd death with death. Treble: What tempted? Bass: Vertue. Treble: Why? Bass: To have a loyall fame, A royal1 grave. Lawes' death was a severe blow to his musician and poet friends, but most of all to his older brother. Be cause none of William's works had been published during his lifetime, Henry decided to print a memoriam of his psalms in three parts as a tribute to William's genius and as a testimonial of his own undying love and admiration for his younger brother. To William's collection he added an equal number of his own similar compositions and invited the chief poets and musicians of the age to add their verses and music in several elegies and commendatory poems. This was the Choice Psalmes of 1648. The verses were furnished by four of the brothers' friends: Aurelian 35 Townshend, the Royalist poet; James Harington, author of Oceana; John Milton, and their devoted companion of child hood days, Francis Sambrooke. Townshend ; s poem is interest ing in that it points up the fundamental difference in em phasis followed by the brothers in their musical compo sitions. Presumably it was William Lawes, the instrument alist, who sounded "the depth of Mhsique", and Henry, the song composer, who "took his flight into the aire": To the Incomparable Brothers, Henry and William Lawes (Servants to His Majestie) upon the setting of these Psalmes. The Various Musick, both for Aire and Art, These Arch-Musicians, in their sev’rall waies Compos'd, and Acted, merit higher praise Then wonder-wanting knowledge can impart. Brothers in blood, in Science and Affection . Belov'd by those that envie their Renowne; In a False Time true Servants to the Crowne: Lawes of themselves, needing no more direction. The depth of music one of them did sound. The t'other took his flight into the aire: 0 then thrice happy and industrious paire. That both the depth and height of Musique sound. Which my sweet Friend, the life of Lovers pens. In so milde manner hath attain'd to do. He looks the better, and his hearers too; So in exchange all Ladies are his friends. And when our Meditations are too Meane To keep their raptures longer on the wing. They soar'd up to that Prophet and that King, l%ose love is God, and Heav'n his glorious Scene: Setting his Psalmes, whereby both they and we May singing rise to immortalitie. A. Townshend Francis Sambrooke paid equal tribute to his beloved friends in a poem of considerable merit: 36 To my worthy Friend (and Countriman,) Mr. Henry Lawes, upon his owne, and his Brother Mr. William Lawes's incomparable Works. Where shall I place my wonder, when I see Such right in both to t, such equalitie Of worth in either, that it cann't be knowne Which does the greatest, and the hightest owne? So when two Tapers mixe their beames, we say, Not this more lustre has, or that more ray; But each has title to the light, and they Make up one, common, undistinguish'd day: Or, as when th'Flamen divers incense fires. The perfume severs not, but in one aspires; So that from this Spice, or that piece of Gum, We cannot say, such, or such odours come: But mounting in a general1 unknowne cloud. The wonder of the breath's to each allow'd; So here, such equall worth from each does flow. That to each light, to each we incense owe. Fr. Sambrooke While not included in the commendatory verses of the Choice Psalmes, other elegaic poems were written upon the death of William Lawes by the more renowned poets of the age, such as Robert Herrick, Robert Heath and John Tatham. In his introduction to the Choice Psalmes Henry Lawes tells us that many such elegies on the death of William Lawes were written by his "Noble Friends" and in- scribed in a "peculiar Book:, but the latter volume is either not extant or has not yet been discovered. At the end of the Choice Paalmes were printed eight musical elegies by William's friends and colleagues, each a noted composer in his own right. The list includes Henry Lawes, John Wilson, John Jenkins, Simon Ives, John 37 Hilton, John Cobb, John Taylor and Captain Edmund Foster. The longest composition is that of John Jenkins, the "grand old man" of English chamber music. Despite the fact that Jenkins was ten years Lawes*’ senior, the two appear to have been close friends. The older man's elegy is indeed a testimonial of his affection and high regard for his young colleague, to \diom he refers as "Amice". Jenkins' verses are also valuable in that they paint a revealing portrait of William Lawes, a portrait which agrees in every detail with the one said to be Lawes which now hangs in the Fac ulty of Music School at Oxford and is reproduced as frontispiece of the present volume.^ The text of Jenkins' elegy begins as follows: Treble: Why in this shade of night? Amice say: How is thy light put out? Thy cheerfull day turn'd into frownes? The sprightly aire that once danc'd On thy smiling brow, and oft convers'd With thy quick sighted genius? Prithee, prithee tell, my deare Amice; All I feare's not well. In the Oxford portrait, if indeed it is Lawes, William is shown as a handsome and somewhat debonair cavalier, with iThe portrait was presented to the Music School late in the eighteenth century by Philip Hayes. It is exactly the same size as a similar portrait of Henry Lawes, which is also in the Music School. The chief doubt about the authenticity of William's portrait has always been the fact that he appeared younger than Henry, but with the proof that he was indeed a younger man this doubt has now been removed. The two portraits seem to have been done at the same time and by the same artist, since the style and materials are the same. 38 broad-brimmed hat, wide embroidered collar, slashed coat and long curly hair. The thin smile on his lips and the quick sparkle in his eyes betray an adventurous and daring spirit. There is the look of the Court favourite about him too, of a confident and gifted young genius who is fawned upon and indulged by his older colleagues and peers. Indeed, there is little evidence, in his outward appear ance at least, of the turbulent romanticism and brooding melancholy of his major works. Apparently this side of William Lawes* character was not for the canvas, nor for the Court. Jenkins entitled his elegy, "An Elegiack Dialogue on the sad losse of his much esteemed friend, Mr. William Lawes, servant to His Majesty". It is by far the longest of the elegies appended to the Choice Psalmes, and shows the older man's respect for Lawes as a musician. In his "dialogue", which closes with a three-part chorus, Jenkins refers to Lawes as "the soul of mine and all our harmony", a statement of some significance, since Lawes' counterpoint was indeed the most daring of the period and may well have influenced Jenkins in his own compositions. Simon Ives also appears to have been more than a casual friend. It will be remembered that he shared the honour with Lawes of composing the music for the Triumph of Peace in 1634. His elegy is dedicated as, "An Elegie 39 On The Death of His Deare Fratemall Friend and Fellow, Mr. William Lawes, servant to His Majesty". The verse is short: Lament and Moume, he's dead and gone That was the most Admired one, renowned Lawes. Generali of the Forces all in Europe that were musicall. Have we not cause to weep and moume. When as the children yet unborae may make us sad. To think that neither girle nor boy Shall ever live to enjoy such Lawes Such Lawes as once we had. John Hilton, the famous editor and contributor to Playford's Catch that Catch Can (16^2), set the following verses: Bound by the neare conjunction of our soules. Thus I condole thee, thus bedew they Herse; And whilst my throbbing, throbbing heart, thy Exit towles, Accept this sacrifice of weeping verse. What eyes can drily stubbome be when Lawes resteth At such a long continued pause? Let teares, like pendents, garnish every note. Wav'd to and fro with gales of mournful1 sighes. And let the widowed muses joyntly vote. To celebrate with griefe thy obsequies: For with thee vanish't all their aerie pride. Muffled in the clay, that erst was stellified. Since then i'th Center sleeps true harmony. Let him (that's greedy of that sacred gaine) Close to his mother earth his eare apply. There wait to heare some sad melodious straine. Within this Womb hath pale impartiall death Too soon confin'd the Quintessence of breath. Cpatain Edmund Foster's words contain a single message: Brave spirit, art thou fled? And shall not we. Since thou so sonn art dead Shed teares for thee? Ô let our eyes like limbecks be Still dropping teares for thee. 40 John Cobb, organist of His Majesty's Chapel Royal, paid tribute to Lawes' skill as a composer: Deare Will is dead. Will Lawes, whose active braine Gave life to many sweet harmonious straines; Whose boundlesse skill made music speak such sense. As if't had sprung from an intelligence. In his just proportion'd songs there might you find His soule convers d with heav'n with his mind And in such language Rhetorick never knew For his Rhetorick and sweet Musick too Like that which brought from the imperial1 skie Angels to men, from men made Divels flie. Oh he's dead, he's dead To heav'n is he gone? The life of Musick And laus, the life and laus of our Nation. John Wilson, who was by this time Doctor of Music, dedi cated his elegy "To the Memory of his Friend and Fellow, Mr. William Lawes, servant to His Majestie": 0 doe not now lament and cry, 'Tis fate concludes we all must die; Rather rejoyce that he is there Mending the musique of the Spheares: We are dull soules of little worth. And coldly here his priase set forth. Who doth that truly sure must be instructed by divinity. Harke, 0 harke the celestiall Quire doth pause. To heare his sweeter lyre: There he is set free from vaine feares. Or heav'd sighs or brinish teares. Could'St thou thy fancy send us downe in Musique, We would place a crowne, so harmonious on thy faire Herse, Should out-tongue Ovid in his sweetest verse. The most tender of all the elegies is that of Henry Lawes. It is entitled, "A Pastorall Elegie to the memory of my deare Brother, William Lawes": 41 Cease you jolly Shepherds, cease your merry layes; Pipe no more, pipe no more in meadowes green. Crown'd with Ivie and with Bayes: Let your flockes no more be seen On the verdant hillocks spread; But tune your oaten Reeds with saddest notes. With saddest notes to moume : For gently Willy, your lov'd Lawes, Your lov'd Lawes is dead. Weep, weep, weep Shepherd Swaines For him that was the glory of your plaines: He could appease the sullen seas. And calme the fury of the mind; But now (alas) in silent ume He lyes, hid from us And never must returne, never must returne. And never must returne, and never must returne. The full extent of Henry's grief may be understood even more from his dedicatory epistle to King Charles I, and from his preface To The Reader: To His Most Sacred Majestie, CHARLES, by the Grace of God, King of great Brittaine, France and Ireland, Defender of the Faith, &c. I could not answer mine owne Conscience (most Gra cious Soveraigne) should I dedicate these Compositions to any but Your Majestie; they were born and nourish'd in Your Majesties service, and long since design'd (such as they are) an Offering to Your Royal1 hand. Many of them were compos'd by my Brother (William Lawes), whose life and endeavours were devoted to Your service; whereof, I (who knew his heart) am a surviving witnesse, and therein he persisted to that last minute, when he fell a willing Sacrifice for four Majestie: I were un worthy such a Brother, should I tender ought that is his, or mine, to any but our Gracious Master (from whose Royall Bounty both of us receiv'd all we injoy'd;) and such an Inscription would not only seem a Theft and Alienation of what is Your Majesties, but (which I most abhorre) would make me taste of these ungratefull dayes. Your Majestie knowes when the Regall Prophet first penn'd these Psalmes, he gave them to the Musitians to be set to tunes; and they humbly brought them to David the King. Besides, Mr. Sandys inscribes his Translation 42 to four Sacred Majestie; so that this I offer is Your Majesties in all capacities, and doth not so properly come, as rebound back to Your Majestie. I was easily drawn to this presumption, by Your Majesties known particular affection to David's Psalmes, both because the Psalter is held by all Divines one of the most excellent parts of holy Scripture; as also in regard much of Your Majesties present condition, is lively described by Kind David^s pen. The King of Heaven and Earth restore Your Majestie according to Your own righteous heart, which is the daily earnest prayer of Your Majesties most humble most loyally devoted Subject and Servant, Henry Lawes. To the Reader These following Compositions of mine and my Brothers, set at severall times, and upon several1 Occasions, (having been often heard, and well approved of, chiefly by such as desire to joyne Musick with Devotion) Î have been much importuned to send to the Presse, and should not easily have been perswaded to it now, (especially in these dissonant times) but to doe a Right (or at least to shew my Love) to the Memory of my Brother, unfortunately lost in these unnaturall Warres; yet lyes in the Bed of Honour, and expir'd in the Service and Defence of the King his Master. Living, he was gener ally known, and (for his Parts) much honoured by Persons of best quality and condition. To give a further Character of him I shall forebeare, because of my neer relation, and rather referre that to those Elegies which many of his noble Friends have written in a peculiar Book: But, as to what he hath done in Musick, I shall desire the present and the future Age, that so much of his Works as are here published, may be received, as the least part of what he hath compos'd and but a small Testimony of his greater Compositions, (too voluminous for the Presse) ^ich I the rather now mention, lest being, as they are, disperst into private hands, they may chance be hereafter lost; for, besides his Fancies of the Three, Foure, Five and Six Parts to the Viols and Organ, he hath made above thirty severall sorts of Musick for Voices and Instruments: Neither was there any Instrument then in use, but he compos'd to it so aptly, as if he had only studied that. As for that which is my part in this Composition, I had not thought at all (though much urg'd) to publish; but that, as they had their birth at the same time with his, and are 43 of the same kinde, so they might enter both into the light together, and accompany one another being so neere allied; Mine taking precedence of order only, not of worth. I may be thought too partiall in what I have spoke of a Brother; but here are following many of our Friends and Fellowes, (whose excellency in Musick is very well knowne) who doe better speak for him, while they moume his Obsequies: yet I (oblig'd before all other) cannot but bewaile his losse, and shall celebrate his memory to my last houre. Henry Lawes One cannot help but feel that there existed between the brothers Lawes one of the finest and most sincere relation ships in the entire history of the English musical scene. Henry Lawes, as seen from his own testimony, respected and guarded the genius of his younger brother. He was concerned that posterity should know of William* s volumi nous works in every style of composition, and that he should be honoured after his death. There is also that deeply-rooted affection which is so evident in Henry's every phrase, and which remained with him until his dying day, so that in his last will and testament made shortly before his death, his last words were: I give and bequeath unto . . .Mr. Frances Sambrook my chest of Violls and chest in which they are con sisting of two treble violls, two tenor violls, and one Base Violl with the bookes of ffancyes, Pavins and Almans of ffive and sixe parts for the violls and sixe bookes of Consort lessons bound in bleu leather, all of which were the compositions of my deare Brother William Lawes.1 ^Henry Lawes' will is filed in Somerset House and dated October 21, 1662, the year of his death. 44 Whether the manuscripts which Henry Lawes bequeathed to Sambrooke are among the autograph volumes of William Lawes* works which are now in the Bodleian Library at Ox ford and in the British Museum has not yet been established for certain. At least fifteen autograph volumes are known to be extant. Six of these, originally belonging to the library of the Oxford Music School, are now in the Bodleian Library. They, and their contents, are as follows: autographs Mus.Sch.B.2. (in score) Mus.Sch.B.3. (in score) contents Fantasias, Pavans and Aires in five parts; Masques; Catches, Rounds and Canons; miscellaneous Songs; Suites for two Bass Viols and Or gan; Violin Sonata in D Major; pieces for Two Lutes. Fantasias, In Nomines, Pa- vans and Aires in Five and Six Parts; selected "Harpe" Consorts; Forty pieces from the Royall Consort. Violin Sonatas; "Harpe" Consorts; Suites for Two Bass Viols and Organ. The organ part for the Fan tasias, Pavans, In Nomines and Aires in Five and Six Parts; the Violin Sonatas; and the Suites for Two Bass Viols and Organ; also the harp part for the "Harpe" Consorts. Seven more of Lawes* autograph volumes are in the British Museum. They are: Mus.Sch.D.238-40. Mus.Sch.D.229 (in parts: three books) (organ book) 45 autographs contents Add. 31432 (in score) Solo songs; Dialogues; Three part Drinking Songs (all with unfigured thorough bass) . Add. 17798 (bass part Fantasias, In Nomines, Pa- only) vans and Aires in Five and Six Parts. Add. 40657-61 (in parts: Aires in three, four and five books) five parts. The fourteenth volume is in the Houghton Library at Harvard, (MS. Mus. 70) and consists of music for lyra viols. The last autograph volume contains more of Lawes* music for lyra viols in tablature. It was part of the library of William H. Cummings, which was sold at auction in 1917. The present owner has not yet been traced. The authenticity of William Lawes* autograph is supplied by an inscription on the reverse side of the first folio of British Museum, Add. 31432, which reads as follows: Richard Gibbon, his booke, given to him by Mr. William Lawes all of his owne pricking and composing. Given to me J. R., by his widow, Mrs. Gibbon. J.R. Most of the autograph volumes are bound exactly alike, in brown calf, with the Royal Arms of Charles I stamped in gold on the covers, and on either side of the design an 46 initial, first W. and then L.^ Almost every piece in the autographs is signed by William Lawes in a beautiful and distinctive hand, which leaves little doubt that these are autograph signatures. The signatures in all volumes corre spond exactly. From the inscription by Richard Gibbon in Add. 31432 it is probable that William Lawes himself arranged the contents and had them bound, perhaps during the Court's establishment at Oxford. This may also explain the presence of the autographs in the Music School collec tion. Indeed, all of the volumes appear to be part of one large set which was meticulously arranged and guarded. However, while Lawes' autographs are gathered into sets representing his various collections, they offer little or no basis for an attempted chronology of his works. The composer's Court masques, for example, are included in re verse order from their actual dates of composition. Like wise, an elegy written on the death of John Tomkins in 1638 is found on page 101 of Bodleian, Mus. Sch. B.2, whereas the music for Britannia Triumphans, which was composed in the same year, is on pages 16 to 18. An examination and identification of the watermarks of the various autographs supports the claim that they were for the most part all of the same set, as well as the ^Bodleian, Mus. Sch. B.3, has the initials H. L., although the manuscript contains only autographs of William Lawes. 47 suggestion that the set was compiled in Oxford, c. 1642-3. Except for the flyleaves, each volume contains paper which is uniform in size, weight and watermark. This paper has printed staffs of five lines, which are also uniform. All of the volumes, except Mus. Sch. B.2 and B.3, have the same watermarks, a peacock in a circle. This corresponds with No. 174 in Edward Heawood's Watermarks, (Hildersum: 1950), which is given as 1628 in Venice. The paper used in the two Bodleian autograph scores has the waterma#k.No. 2174 in Heawood, a cluster of grapes with the initials A. R. on either side of the stem, and is listed much earUer, c. 1579. The watermarks on the flyleaves of the latter volumes approximate Nos. 479-81 in Heawood, which are the same as that on the paper of Giovanni Coperario's Rules How to Compose of c. 1610. The latter watermark, however, is listed as early seventeenth century to 1624. These watermarks tell us little, since we know that some of the contents of the manuscripts were not entered until 1638 or later. The most significant of the watermarks is that on the flyleaves of the organ book, Bodleian, Mus. Sch. D. 229, which approximates Nos. 649-672 in Heawood and indi cates that the paper was made between the years 1640 and 1680. This strongly supports the suggestion that Lawes * I himself had the book bound in the early 1640 s, while with the Court in Oxford, and therefore, that he may have 48 copied and arranged his autograph volumes during the same period. We know that the autographs were not copied chronologically and the presence of music written in at least 1638 or later, at the beginning of one of the major volumes, further strengthens this contention. It is certain that several of Lawes* autograph volumes are either missing or no longer extant. These would in clude the five remaining part books of the original set of parts to the five- and six-part fantasias. In Nomines, pavans and aires, of which British Museum, Add. 17798 is one; the six books of consort "lessons" (probably the parts to the Royall Consort), mentioned by Henry Lawes in his will; and the lyra viol autograph listed In the catalogue of the Cummings collection. In addition, the present author believes that the following additional autograph volumes have not yet been discovered or are no longer extant: 1 The three-part psalms. 2 The verse anthems. 3 The madrigals in three, four and five parts. 4 The suites for lutes. 5 Additional consort "lessons" or dances for instruments. 6 Pieces for wind instruments (perhaps). 7 Works for the keyboard (perhaps). 49 Evidence for this claim is based on the fact that in some cases several works do exist of the type mentioned above, but not in autograph. It is important to remember here also, the statement by Henry Lawes, that his brother com posed, besides his fantasias of three, four, five and six parts for the viols and organ, more than thirty different kinds of music for voices and instruments, and that William composed for every instrument "then in use" so well, that one might have thought "he had only studied that". And, as the older brother also stated, William Lawes* works were "too voluminous for the Presse". Additional evidence for the possible existence of other manuscripts may be seen in the case of Lawes* vocal music. In examining the contents of the vocal autographs and comparing these with the complete list of Lawes * vocal and dramatic works it becomes evident that a number of pieces which are ascribed to the composer in other manu scripts and in Playford*s publications, cannot be authen ticated by autographs. Many of these songs, however, are attributed to Lawes in so many manuscripts and publications that little if any doubt should be cast upon their authen ticity. In fact, some of the composer*s most popular tunes fall into this category, including the three-part dance song, *’0 My Clarissa", and perhaps the most famous of all seventeenth-century catches, "The Wisemen Were But 50 Seven". It is curious indeed that these works should have been left out of the carefully planned autograph volumes. Even more perplexing is the fact that at several points in the autograph, Bodleian, Mus. Sch. B.2, quite a few pages have been tom out close to the binding. All of these mutilations occur immediately following, immediately preceding, or in the midst of vocal music. Moreover, in some cases part of a piece of vocal music, or even a com plete song, has not been tom out, but scratched out in pen and ink, so that tnstmmental music on the same page or on the reverse side of the folio might be preserved. Undoubtedly someone, probably William Lawes himself, de liberately removed much of the vocal and dramatic music from this autograph volume. Fortunately however, all of the pieces and fragments that remain in the scratched-out form are still decipherable. They are identical with versions found in other manuscripts and publications. It is therefore likely that they were removed for the purpose of binding with other vocal and dramatic music of the same type. In addition, these pieces are mainly part-songs in the style of the late Renaissance madrigal. They are among the finest of Lawes * vocal works. ^ The Choice Psalmes proved to be the first of many ^The vocal autographs and the mutilations occurring in them are further discussed in Chapter VII, pp. 264-266. 51 publications which contained music by William Lawes. The astute music publisher, John Playford, who styled himself "Philo-Musicae", seized upon Lawes * music for his early publications. The second part of the very rare A Musicall Banquet (1651), entitled Musica Harmonia, which contained music for a treble and bass instrument, was practically dedicated to Lawes. ^ The title page reads as follows: MUSICA HARMONIA: or Choice Almans, Corants, and Sarabands, for one Treble & Basse. By that rare and accomplished Master in Musick Mr. William Lawes, Deceased: and by severall other Excellent Masters in Musick now liv ing. Twelve of the pieces in Musica Harmonia are by Lawes, twice the number of the second most represented composer, John Jenkins. Other contributors are Christopher Simpson, author of the Division-Violist (1659), Charles Coleman and and Richard Cooke, Part I of A Musicall Banquet, entitled Musick and Mirth, also included three catches by William Lawes. The next Playford publication which contained music ^To the best of the author * s knowledge, the only ex tant copy of A Musicall Banquet which is complete is that in the Bodleian Library at Oxford. 52 by the composer was John Hilton's Catch that Catch Can, printed in 1652. Only about one-third of the pieces in this volume, however, are by Hilton. William Lawes was the second largest contributor with eighteen pieces. In deed his catches were much the most popular of the day and outlasted those of Hilton by a number of years. In the same year, 1652, Lawes’ music was also featured in Playford* s Musick* s Recreation On The Lyra Violl, and also in the same year Playford brought out an unauthorized version of Henry Lawes* Select Ayres and Dialogues, in three books, containing songs by Henry and William Lawes, John Wilson, Charles Coleman and William Webbe. Six of the songs were by William. In 1653, Henry Lawes, at Playford*s expense, brought out his own collection of Select Ayres and Dialogues, also in three books, in which he complained about inaccuracies in the unauthorized ver sion of the year before. This time William Lawes was represented by eight works. In 1655 Playford published his Court-Ayres, in two parts, for a treble and a bass, for viols or violins. In the preface "To All Understanders and .Lovers of Musick", the publisher explained his plan of publication: About three years since I published a Booke called the Musicall Banquet, there being in it a small taste of Musick in four severall Tracts. The first was some Rules for Song and Violl. The second had in it about 30 Lessons for Lyra Violl. The third contained about 27 Lessons of Two Parts, Basse and Treble. And the 53 fourth consisted of about 20 Rounds and Catches. That Little Booke finding such acceptance among all lovers and Practitioners in Musick (and the Impression now totally sold off) I resolved to inlarge each of these tracts, and to Print them in severall Books, which I have now (through God's permission) accomplished. The first Book I call, A Brief Introduction To The Skill of Song and.Violl. The second, Musick’s Recreation, wherein is 117 Lessons for the Lyra Violl. The third is intituled Court-Ayres of Two Parts; treble and Basse, containing at least 150, whereby you have a much larger Banquet than you had before. " The Court-Ayres contained fifty-four pieces by William Lawes. But the pieces in this publication are not the original form of Lawes* works. Many are "watered-down" versions #iich are mere skeletons of his larger compo sitions. Some are also from his masques. In later pub lications, Playford himself admitted that larger works, containing divisions or variations, or large instrumental compositions in many parts, were too expensive for publi cation. Indeed this probably explains why none of Lawes* really important works were ever printed during the seven teenth century. Later, in the eighteenth century, his work was forgotten, and the style of composition had so changed that there was little hope of anyone taking the time to interest himself in the composer’s autographs. The second edition of the Court-Ayres was entitled Courtly Masquing Ayres and was published in 1662.^ Lawes* A complete copy of the Courtly Masquing Ayres may be found in the music library of theRoyal College of Music in London. 54 pieces make up the first section of this work and include new selections from his masques. In 1663 Playford brought out his first collection of music for the virginals, which he entitled Musick* s Handmaide. Once again Lawes was represented, this time with eight compositions. Whether or not these pieces were originally composed for the virginals, or were even arranged for that instrument by William Lawes, it is difficult to say, since some of the pieces exist in other forms as well. In fact, the only other works for an independent keyboard instrument which are attributed to William Lawes are extant in just a few manuscripts. There are, as far as we know, no solo key board works in any of his autographs. After Playford*s publication of music for the vir ginals, three years elapsed before more of Lawes* music appeared in print. In 1666, however, Playford, acceding to popular demand, published a simple edition of music for the cittern, a plucked instrument which was far less difficult to play than the lute, since it had only four pairs or ’'courses** of wire strings. The title of this volume was Musick* s Delight On The Cithren. It was written in tablature and, according to Playford, was "Restored and Refined to a more Easie and Pleasant Manner of Playing than formerly; And set forth with Lessons A1 a Mode, being the Choicest of our late new Ayres, Corants, Sarabands, 55 Tunes, and Jiggs. To which is added several New Songs and Ayres to Sing to the Cithren." Eleven pieces were attri buted to Lawes, eight of which were versions of his songs to be sung to the accompaniment of the cittern. Two of these songs, however, were wrongly attributed.^ One of the composer's most popular dance suites, entitled The Golden Grove, made up the few purely instrumental works. All of the pieces in the cittern book were reduced to a single melodic line with but a fèw chords at cadence points. They were probably arranged by Playford himself. In 1667 another edition of Catch that Catch Can appeared with the co-title. The Musical Companion. This contained additional catches and rounds as well as those printed in the first edition of 1652. It also had a second part made up of songs of two, three and four parts. Twenty-nine of the pieces in this publication were by William Lawes. Two years later Playford put out another large edition of the Select Ayres and Dialogues, with the new title The Treasury of Musick, in three books as before. Nineteen of the songs in this volume were by Lawes, eight of which were wrongly attributed to other composers or anonymous.2 in 1673 another edition of The Musical Com- ^These songs are "Silly Heart Forbear", which is really by Nicholas Lanier, and the catch "A Boate, A Boate", by John Jenkins. ^Further to this see Chapter VII, pp. 238-239. 56 panion appeared in which Lawes* vocal pieces figured as the largest single contribution,(twenty-three songs and catches). The commendatory verse of this publication in cluded a poem by Thomas Jordan, "Gentleman", in vÆiich a reference to William Lawes* death in connection with the civil wars was made: When pestilential Purity did raise Rebellion * gainst the best of Princes, And Pious Confusion had untun'd the Land When by the Fury of the Good old cause Will Lawes was slain, by such whose Wills were Laws. This play of words on the composer's name was employed often in the commendatory verse of the period, as evidence also the elegies of the Choiee Psalmes. In fact, to mu sicians and poets at least, the death of William Lawes had become a symbol of the excesses of the Puritan Re bellion. In a manuscript in the British Museum, Add. 29,290, which contains the organ parts to Lawes' violin sonatas, is a brief notice of the composer's death and the following "Monumental Inscription", which makes use of the same word play: Concord is conquered, in this u m there lies The Master of great Musick*s mysteries: And it is a riddle, like the cause. Will Lawes was slain, by those whose wills were Lawes. It is not known whether or not the above inscription was ^Thomas Jordan (c. 1612-1685) was a prolific Royalist pamphleteer, poet and playwright. He later be came poet laureate to the city of London. 57 actually used on Lawes’ gravestone. Presumably the com poser was buried at Chester, but the whereabouts of his burial place there is not known. There is no record either that he left any will or last testament, or that he was ever married. The last seventeenth-century publication to feature William Lawes’ music in any quantity was the New Ayres and Dialogues, published by John Banister and Thomas Low in 1678. The editors’ selection of sixteen of Lawes’ finest songs included, for the second and last time in print, the beautiful "Amarilis".^ This same volume also contained several new songs which were attributed to a rising young composer named Henry Purcell.^ That Lawes’ music con tinued in high esteem throughout this period is evident from the writings of Thomas Mace, who accords to William Lawes first place over John Jenkins and Christopher Simp son as one of the three greatest masters of the age: "These last Ages have produc’d very many Able, and most Excellent Masters in Musick; Three only (of which) I will instance in, in This Particular; because they were so Voluminous, and very Eminent in Their Works, viz. Mr. William Lawes, Mr. John Jenkins, and Mr. Christopher Simpson. These Three Famous Men, although Two of Them be laid asleep, (or as we say, Dead;) yet by Their most ^This song is printed and discussed in Chapter VII> pp. 242-245. It was first printed by John Playford in the Treasury of Musick (London: J. Playford, 1669), where it was wrongly attributed to Henry Lawes. ^These songs, however, were probably written by Henry Purcell, Sr. 58 singular and Rare Works, They Live; and may so easily be Distinguished, the one from the other, and as Exact ly known, which is which, as if they were present in person, and should speak Words Lawes* continued popularity during and after the Resto ration may also be seen in the Diary of Samuel Pepys, who was especially fond of both William and Henry Lawes * music. Pepys and his friends often played and sang the Lawes brothers' psalms during their many evenings of sober discourse and music-making.2 After about 1680 the English musical scene changed rapidly. New influences from abroad brought with them new vogues in both vocal and instrumental composition. But for Henry Purcell, who brought the heritage of William Lawes and his fellows to its culmination, the great age of English vocal and instrumental music begun during the reign of King Henry VIII was drawing to its close. As for William Lawes, his work lasted a brief span of about thirty- five years after his death and then receded into the ar chives of a few great libraries, where it has lain dormant ever since. ^Thomas Mace, Musick* s Monument (London: P. Ratcliffe Thompson, 1676), p. 151. ^Samuel Pepys, The Diary of Samuel Pepys (New York: The Limited Editions Club,194277 1Ô vols. eu. by Henry B. Wheatley, i, p. 271; iii, p. 247; v, pp. 105, 113, etc. CHAPTER II "FOR ye VIOLLS": THE FANTASIAS AND AIRES If it is at all possible to penetrate Lawes' "quick- smiling" exterior and to capture the spirit of his tur bulent romanticism it is through the music he wrote for larger consorts of viols. Lawes* "active braine" gave birth to many "harmonious strains", as John Cobb put it,^ but the daring genius of the large viol fantasias is quite another thing. The fantasia was the only existing musical form which allowed ample space for the free reign of the composer's imagination. It was therefore particularly well suited to Lawes * highly introspective style. Here, the composer, alone with himself, soars far above the ordinary techniques of his contemporaries, beyond the understanding of the Royal Court, and into an emotional and intellectual realm fashioned from forces of his own choosing. The fantasia was the English "sonata movement" of the late sixteenth and seventeenth centuries. As such it ^In his Elegy on Lawes* death in the Choice Psalmes, op. cit., q.v. on p. 40. 59 60 was composed for chamber music groups or "consorts" of from two to seven viols. The form was an outgrowth of the sixteenth-century vocal motet, and the designation "fan tasia" seems to have been borrowed from a contemporary and similar Italian form. "Fantasia", however, does not in this case imply an instrumental composition of a free form as we are prone to understand it, governed by "flight of fancy". On the contrary, the early form of the late sixteenth and early seventeenth centuries was more or less strict. Indeed, it proved to be an ancestor of the later Baroque fugue. In manuscripts of the period it is called variously "fan tasia", "fantasy", "fantazia", "fantazy", "fancie", "fancy", etc. It was probably so designated because it was the first serious instrumental form to dispense with the regulatory cantus flrmus. Then too, as the instrumental counterpart of the vocal motet it need not be dependent on words but could follow the dictates of the composer's imagination and skill. To the composer who had been bound to a predetermined line to which all of the other parts had to conform and to the exigencies of the text in vocal music, this was indeed a new-found freedom, so much so that the musician now felt he was at liberty to compose iRoger North, The Musicall Gramarian (London: Oxford University Press, 19^5%,"ppTTl!^l3T3inT~e3. by Hilda Andrews. . 61 according to his own "conceit" or "fancy". But the early fantasia was still bound, first and foremost, to the technique of fugal imitation. Formally, these compositions consisted of several sections, each of which amounted to a short fugal exposition with little if any development during its early years. There was no thematic relationship between the sections in the early form and these often overlapped, as in the vocal motet. Unlike the fugue of a century later, the fugal expositions were not strict. A subject need not be fully stated before the entry of an answer or imitation in another voice. The "points" or "retorts", to use the contemporary termi nology, could enter at any time during the statement of the subject or another imitation, or even after a "point" had been completed. This stretto or fugato technique, therefore, could be either very tight or sometimes quite loose. All manner of intellectual contrapuntal techniques were employed in these fugato sections, including counter subjects, inversions, retrograde and invertible counter point. While at times quite interesting harmonically, the early fantasia was not especially attractive melodically; the parts containing for the most part scalewise counter points with frequently recurring high and low points. Likewise, the sections were often blurred by overlapping parts and stereotyped cadential formulas and rhythm. The 62 classic description of the early fantasia was provided by Thomas Morely in this oft-quoted paragraph from his A Plaine and Easie Introduction to Practicall Musicke. ^The most principall and chiefest kind of musicke which is made without a dittie is the fantasie, that is, when a musician taketh a point at his pleasure, and wresteth and tumeth it as he list, making either much or little of it according as shall seeme best in his own conceit. In this may more art be showne than in any other musicke, because the composer is tide to nothing but that he may adde, deminish, and alter at his pleasure. And this kind will beare any allowances whatsoever tolerable in other musick, except changing the ayre & leaving the key, which in fantasie may never be suffered. Other thinges you may use at your pleasures, as bindings with discordes, qui eke motions, slow motions, proportions, and vAiat you list. Likewise, this kind of musick is with them who practice instruments of parts in greatest use, but for voices it is but sildome usedS'l The instruments for which fantasias were written, and for which William Lawes* five- and six-part works were composed, were the viols ^ gamba. These were built in various sizes and formed an evenly-matched family of instruments, the most important members of which made up a complete "chest", or, as Thomas Mace points out: "Your Best Provision, (and most Compleat), will be a Good Chest of Viols; Six in Number; viz. 2 Bases, 2 Tenors, and 2 Trebles: All truly and Proportionably suited.The tone i(London: Peter Short, 1597), pp. 180-1. Modern edition edited by R. Alex Harman (London: J. M. Dent & Sons Ltd., 1952), p. 296. ^Thomas Mace, Musick's Monument (London: P. Rat- cliffe Thompson, 1676), p. 2431 63 of the viols is quieter than that of the violin family and more "reedy" in quality. This is due to the flat back and thinner wood of the instruments. The bow is curved outward and held in an underhand grip which places particular emphasis on the flexibility of the wrist motion in performance. The instrument, in all its sizes, has six strings which are thinner than those of the violin family, and the fingerboard is fretted with cords of gut for the purpose of obtaining greater resonance at all finger stops. All of the viols regardless of size, were held between the calves of the legs or the knees and played vertically like the violoncello.^ As a "consort" for the performance of chamber music these instruments were par ticularly well suited because of their evenly matched qualities throughout the several sizes. Especially is this true for the performance of the fantasias, inasmuch as the contrapuntal fugato style placed an equal importance upon all of the parts and stressed the matter of equal balance between all of the instruments. Each instrument was by turns a soloist and an accompanying contrapuntal part. William Lawes* fantasias and aires were not published in their own day, and apart from the composer's autographs %or a more complete description of the viols and their technique see Gerald R. Hayes, Musical Instruments and Their Music, 1500-1750. Vol. II, The Viols and Other Bowed Instruments (London; Oxford University Press, T92BT.------- 64 in the Bodleian Library at Oxford they have survived in only two manuscripts, neither of which contains the com plete collection.! It is difficult indeed to believe that these works could have been widely known outside of the inner circle of professional court musicians and perhaps a few of their aristocratic patrons. But the fantasias must have been known to Anthony Wood, who frequented the meetings of the Music Club in Oxford, for it was probably his knowledge of these works which prompted the rather naive comment that Lawes* music "broke sometimes y® rules of mathematical1 composition". Nevertheless, he hastened to add that "his Q,awes] things before and after y® restoration" were "alwaies culled out".2 The consorts for viols include thirty-nine works, comprising fantasias. In Nomines, pavans and stylized !These manuscripts are the British Museum, Add. 29410-15, in which the two treble parts are reversed, and the Christ Church manuscript 479-83, which contains only the pieces in six parts. An autograph part-book in the British Museum, Add. 17798, has the bass parts only to the five- and six-part pieces. Only a few of the fantasias and aires have ever been published, and these only in recent years. The Fantasia in Six Parts from the "Consort Suite" No. 4 in G minor, and an Aire wesee printed (as No.l) in New York by G. Schirmer, Inc., in 1944, edited by Arnold Dolmetsch and Percy Grainger as No. 3 in the series. The Dolmetsch Collection of English Consorts. Another piece, ^ e Fantasia in Six Parts, first movement of the "Consort Suite" No. 1 in C minor, is included in Ernst Hermann Meyer's English Chamber Music (London: Lawrence & Wishart, 1946), ppr^7%n — ^Anthony Wood, manuscript notes on the lives of English musicians in the Bodleian Library at Oxford (Wood D. 19 (4), No. 106, folio 83?), 65 aires in four, five and six parts.^ The four-part works consist of two fantasias and four aires and are to be found only in the Bodleian autograph score. Mus. Sch. 2 b .2. Of those in five parts there are six fantasias, three pavans, six aires and one other piece entitled "On o the Playnsong" which is in the style of the In Nomine. The scores of all the five-part works are also in Mus. Sch. B.2. In six parts there are eight fantasias, one pavan, two In Nomines and six aires. These are distributed between the aforementioned volume and its companion. Mus. Sch. B.3. Also in autograph are organ reductions of all the compositions in five and six parts in Bodleian Mus. Sch. D.229. All of the pieces are arranged into sets of three or four movements. The matter is complicated, however. ^Another piece, an aire in five parts, is an arrange ment of a piece in the Royall Consort and is not included here. (See Chapter III, f, 132.7 The two six-part fantasias from the Royall Consort, although not strictly viol con sorts and therefore not included in the figure of thirty- nine, are so similar to this collection that they will be discussed in this chapter. 2The four-part pieces are arranged into two suites: No. 1 in C Minor and No. 2 in C Major. They do not seem to belong to the collection of consorts in the same re spect as do the works in five and six parts since there are no organ parts for them in the organ autograph and the bass parts are not included in Br. Mus. Add. 17798. 3This piece is erroneously referred to as an In Nomine in E. H. Meyer's Die Mehrstimmige Spielmusik des 17 Jahrhunderts (Cassel: Barenreiter, 1934), p. 142. 66 by the fact that Lawes' four autographs do not agree, either in the succession of the "setts" themselves or in that of their individual movements. The only constant factor, in all manuscripts, is the arrangement according to key. The grouping of pieces is also irregular, the suites consisting of various arrangements, such as fantasia- pavan-aire, fantasia-fantasia-aire, fantasia-In Nomine-aire, fantasia-aire-fantasia-aire, etc. Moreover, the positions of the individual movements do not correspond in any two of the manuscripts. Nevertheless the two autograph part- books make it clear that some sort of suite arrangement was intended. In fact, every one of Lawes' autograph instrumental collections adheres to a suite form. That large viol consorts were performed in suites during the middle period of viol fantasia composition is stated both by Christopher Simpson and by Roger North.^ It is Thomas Mace, however, who supplies the description most like the arrangement of Lawes' fantasias and aires in the com poser's autographs: We had for our Grave Musick, Fancies of 3, 4, 5, and 6 Parts to the Organ; Interpos'd (now and then) with some Pavins, Âllmaines, Solemn and Sweet De lightful Ayres.2 ^Christopher Simpson, The Division-Violist (London: William Godbid, 1659), p. 49. See also the quote from Roger North in Chapter V, p. 162. ^Thomas Mace, op. cit., p. 234. 67 It will be remembered that the majority of the works in cluded in Lawes* collection are large fantasias and In Nomines. The rest are, as Mace states, pavans and almans or aires. Mace, however, is vague regarding any regular order of movements and implies that the shorter pieces be interspersed between the larger ones "now and then" which, as Simpson had stated earlier, "will produce a pleasant variety".1 This would indicate a basic difference between the arrangement of movements in suites of "Grave Musick" and those in the ordinary dance suite or, as the latter was termed in contemporary sources, the "suit of lessons", inasmuch as the dance suite followed the middle Baroque sequence of Almans-Corants-Saraband. The difference is indeed similar in some respects to that between the con tinental sonata da chiesa and the sonata da camera. In fact, Lawes* instrumental collections do follow these two styles of suite composition. It appears, from a careful examination of the order of pieces in the several auto graphs and manuscripts, as well as from contemporary references, that so long as the key relationship was main tained, the choice of pieces and their order in the suite was probably left to the performers themselves. This is in keeping with seventeenth-century performance practice. In ordering and numbering these large viol suites in the 68 Catalogue of Instrumental Works given in Appendix B the present author has endeavoured to maintain the closest possible correspondence with the sequence of the works in the autographs. This has resulted in the arrangement of twelve suites for consorts of viols: two in four parts, five in five parts and five in six parts. They will be referred to henceforth as the Consort Suites. In the Consort Suites Lawes holds to the tradition of the equally balanced consort; hence the designation "for yG violls". These large fantasias and aires are in fact the only works, outside of the suites for lyra viols and bass viols, in which the composer does not use violins. For the intense contrapuntal style of these compositions, where each part is of equal importance, the "scoulding" violins were too powerful, too unrefined, too precocious. The quiet subtleties of a true consort could not admit such "High-priz'd Noise” as was associated with the music of the violins. The instrumentation of the Consort Suites, however, although calling for viols, does not specifically mention which viols are to be used. Some indication of the instrumentation can be ascertained from the clefs used, since treble viols utilised the treble clef, alto and tenor viols were written for in the alto clef and bass viols employed both bass and alto clefs. 69 The evidence of the original clefs when compared with the compass of the parts furnishes a basis for ascribing the instrumentation to the viol suites. The clefs and melodic compasses of the parts in the two suites for four instru ments suggest that these are for two treble viols and two bass viols. Indeed, the four-part works suffer from the absence of a middle register and are certainly not in keeping with Mace's requirements for equal balance. The five-part consorts, on the other hand, seem intended for two trebles, an alto, a tenor and a bass; however, a second tenor viol might easily substitute for the alto. The six-part consorts are for two trebles, two tenors (or alto and tenor), and two basses. Thus the five- and six- part Consort Suites are perfectly balanced in the distri bution of their melodic compasses. The treble viol, which has a compass ranging from d to d ' ' *, never descends lower than a. In fact, the lowest string is not used at all and the instrument's compass is confined to its upper two octaves. (By this time the two lowest strings of the treble viol had become practically superfluous. Indeed, the treble viol sounds best in its upper ranges.) The alto viol, while upon rare occasions descending to the note of its lowest open string, £, also favours a higher compass within a range of two octaves. The tenor viol holds to its middle register but does, on occasion, dip down to its low G. Again, about two octaves is its normal 70 compass within these suites. The bass viol, however, vigorously exploits a range of three octaves, from C to c * *, and all strings are equally active in the course 1 of the music. This is in keeping with its role as vir tuoso of the viol family. The organ parts to the Consort Suites are simply reductions of the other parts. Rarely do they add new material to the work as a whole. They are, however, par ticularly valuable as an indication of the composer's attitude toward part-writing, for while the string parts seem to move erratically through unresolved dissonances and the like, the organ parts frequently show us the base from vîhich the part-writing is elaborated. In modem per formances of the Consort Suites these keyboard accompani ments had best be omitted, since they interfere with the quality of the consort and are not at all necessary to the music. And besides, they are not very well suited for either the harpsichord or the modern piano, having been designed for a snail chamber organ which had the power of sustaining longer note-values.^ Their texture is alto gether sparse as compared with true harpsichord or piano ^The normal tuning of the lowest string of the bass viol was D, but it was a common practice to tune down to C whenever the music demanded it. Lawes always had his consort basses tune to the lower note. 2por an interesting account of a seventeenth-century table organ see Chapter V, pp. 180-182. 71 accompaniments and they differ radically from Lawes* really independent and fully written-out keyboard parts in other instrumental collections.^ In fashioning the organ re ductions for the Consort Suites the composer included the most important entries and counterpoints of the various string parts and as much else as could be conveniently accommodated by two hands. In cases where all of the parts could not be played on the organ, Lawes used the practice of "directs” to indicate to the organist the movement of the unincluded instruments. This points up the raison d*etre of the organ parts in general, and that is, as an aid or guide for the other instruments. Mace explains this as ”the Chief Office of the Organ in Consort”: . . . the Organ stands us in stead of a Holding, Uni ting- Cons tant -Friend; and is a Touch-stone, to try the certainty of All Things ; especially the Well-keeping the Instruments in Tune, &c. And in This service the Organ should be Equally Heard to All; but especially to the Performers Them selves, who cannot well Perform, without a Distinct Perceivance Thereof.2 During the later Jacobean and Caroline periods it became usual for the organ to accompany a consort of string instrur ments. Numerous contemporary references to this practice, in addition to the above, may be cited together with the evidence of many works in manuscript. Of particular ^A complete discussion of Lawes * keyboard parts will be found in Chapter V, pp. 178-182. 2Thomas Mace, op. cit., p. 242. 72 interest is this statement by Roger North; In some familyes organs were used to accompany con sorts, but the old masters would not allow the liberty of playing from a thro* base figured, as harpsichords of late have universally practised, but they formed the organ part express; because the holding out of the sound required exact concord, els the consort would suffer; or perhaps the organists had not then the skill as since, for now they desire onely figures.1 But North is mistaken in assuming that early seventeenth- century English organists could not play from a figured bass. On the contrary, we know, for example, that a theorbo player was even expected to fill in harmonies from an unfigured bass line. Moreover, there is the evidence of printed publications dating from the first half of the century which have figured bass parts for the organ.^ The real reason for the "old masters” writing the organ part "express” was certainly so that it might act as a guide to the performers in bringing in the parts at the correct entries and in keeping the performers reasonably in tune. William Lawes' fantasias for viols are important landmarks in the formal development of the fantasia in England. The two basic principles of earlier fantasia composition--imitation by stretti and sectional structure— are not discarded by Lawes. They are used as the basis ^Roger North, Memoirs of Musick, 1728, edited by Ed ward F. Rimbault (London; G. Bell, 1846), p. 105. 2see the discussion regarding the thorough-bass of the Royall Consort in Chapter III, pp. 122-123. Henry and William Lawes' Choice Psalmes were published with a figured thorough-bass in 1648. 73 for expansion. What happened to the fantasia in his hands can perhaps best be described by a comparison with the effect of Beethoven upon the early classical sonata form. Without abandoning or attempting to destroy what went be fore, he proceeded to add to and to alter the existing form to make it suitable for the expression of his more romantic temperament. Thus, the themes were longer and more romanticized, development sections were greatly ex panded, rhythms were more varied and interesting, content was richer and the texture more intense. In addition, the instrumental fabric was relieved of a certain monotony by the introduction of contrasting groups of solo instruments, and a specially designed coda was added as a climax. By these means the entire work was lengthened and now assumed significant proportions. Moreover, the important element of variety, which had gradually been gaining ground since the turn of the century, became one of the principal aes thetic considerations in the composition and organization of a musical work. The new aesthetic principles of the musical Baroque in England paid much attention to what was variously termed "Humour”, "Conceit”, "Life” and "The passions”. In the course of the seventeenth century these concepts became increasingly important to the composer in his search for more expressive melodies and more tuneful "aires”. 74 "Humour” especially became one of the three major principles of composition, together with "Fugue” and "Form”. Included in this concept of "Humour” are all of the expressive possibilities of music: gaiety, sadness, passion, nobility, grandeur, serenity--the complete gamut of the emotions, feelings and senses. Naturallyj fancy and imagination played an important role in this too, under the concept of "Conceit”. "Life" alluded to the spirit or life of the music. Bound up with the concept of "Humour” also, was the employment of dynamics, the various shades of loud and soft, wherewith expression could be portrayed in its various contrasts. So vital had this principle of "Humour" become that the several musical keys themselves were stereotyped for different emotional values and moods. According to Thomas Mace, for example, C Major is "a Most Noble, Generous, and Heroical Key, fit to Express anything of Magnanimity and Bravery upon", and F major, "an exceed ing Brisk, Lofty, and Sparkling Key”.^ Mace, in fact, places more importance upon pure interpretive musicianship than does any of his contemporaries, and in his writing he continually calls the attention of the student to the "Fugue", "Form" and "Humour" of the music. He qualifies these as: The Notion of Fugue, (or Matter:) Form, (or Shape;) Humour, (or Conceit;). . . . Those 3 Necessary %ace, o£. cit., pp. 197, 219. 75 Pertinencies, in reference to Invention, Voluntary-Play, and a Good Composer, viz. Matter, Form, Humour; Life, or Conceit. And without a due Observance of These, None shall Compose Musick with that Ease, Familiarity, and Cer tainty, Compleatness, and Pleasure, as Those who do observe Them.1 Mace defines "Fugue" as: . . . a Term used among composers; by which They understand a certain intended Order, Shape, or Form of Notes; signifying, such a Matter, or such an Ex tension; and is used in Musick, as a Theam, or as a subject Matter in Oratory, on which the Orator intends to Discourse.2 "Form" referred to the overall design of the piece, the length and uniformity of phrases and strains and the essential structure of the music. To cite just one of Mace's numerous directions for the correct observation of the "Humour" of a piece of music, here is one for the Tattle de Moy, a form ^ich the theorist himself claims to have invented: The Humour is Toyish, Joccond, Harmless, and Plea sant; and as if it were, one Playing with, or Tossing a Ball, up and down; yet it seems to have a very Solemn Countenance, and like unto one of a Sober, Innocent Condition, or Disposition; not Antick, Apish, or Wild, etc. As to the Performance of It, you will do well to Remember . . . to Play Loud, and Soft, sometimes Briskly, and sometimes Gently, and Smoothly, here and there, as your Fancy will (no doubt) Prompt you unto.... 3 llbid., p. 138. 2lbld., p. 116. 3lbid., p. 133. 76 Finally, here are Mace's complete instructions for the performance of a corant which he includes in his volume: The Fugue is seen, in the 3 first Notes, and per ceptible all over the Lesson. The Form is Even, Uniform, and Perfect. The Humour, is a kind of Sorrowing, Pittying, and Bemoaning. 1 "Fugue’, "Form" and especially "Humour" are also important components of Lawes’ style. The "Fugue" is of course evident in his use of the fugato style--the imitative entries or "reports" of the various instruments. But con trary to what one might have expected in the composer’s music, there is a decided lack of the more complex contra puntal devices such as melodic inversion, countersubjects, retrograde, invertible counterpoints, augmentation and diminution, all of which were the standard techniques of the earlier fantasia composers and were regularly employed in the early"fancy", as they were in the motet. Lawes was dedicated to the aesthetics of the new Baroque and so Renaissance academicisms found little place in his music. "Form" takes on new significance in his fantasias in the clearly marked and well balanced sections which were larger and fewer in number. The several "Humours" are especially notable in the variety of these contrasting sections, which range from slow, dissonant laments for the entire consort, to playful interludes for two, three or libid., p. 130. 77 four instruments. Above all the "Humour" is reflected in the highly expressive and subjective melodies which invite contrast in both tempo and dynamics to a far great er extent than one would have thought was employed at this early date. The emotional and introspective character of the Consort Suites is boldly announced in the opening subjects of the individual movements, some of which are quoted below: Ex. 1 ' 1st m o v 't" F a n ta z y V 6 -p a r t C onsort Suite No. 1 in C minor Ct- 1st mov’t., "F antazy," 5 - p art Consort Suite No. 3 in C minor 2nd. mov’t., "On th e P laynesong" 5 - p a r t Consort Suite No. 1 in G m inor (c) 3rd m ov’t., "Aire," A- p a rt C onsort Suite No. 2 in C m ajor * 1st mov’t., "Fantazy," 6 - p a rt C onsort S uite No. A in G m inor (e) p 1st m ov’t., " F a n ta z y " 5 - p a rt C onsort S uite No. 1 in G m inor 6 — ^ 78 Here, in the fantasias and aires, are the most personal of Lawes* themes. These are not the little scalewise motifs often associated with the music of other early instrumental composers. They are romantic melodies of considerable length and breadth, thoroughly and deliciously instrumental in character. Some--for example those of the C minor fantasias--appear eccentric and even extravagant when lifted from their context. The vertical implications of these lines give rise to grinding counterpoints and disso nant harmonies. Other melodies are obviously expressions of the most tender romanticism and strikingly like the style of the Italian bel canto, such as the opening themes from the C-major "Aire" in four parts and the G minor "Playne-song". A third group has a vigorous, rough-hewn cast of a highly instrumental nature. The G-minor themes are representative of this type. Fresh and interesting to our own ears, Lawes* melodies must have appeared ex tremely daring to pre-Commonwealth music-lovers, who had not the romantic heritage we now possess. In fact, Lawes* music can be better understood and appreciated today in the light of modern linear practices. Such melodies as those of the C-minor fantasias are not too far removed from some of our present melodic tendencies. Affective melody is a major element in Lawes* music and, when em ploye d polyphonically, forms the mainspring for his dis- 79 sonant harmonic and contrapuntal technique. The Xtalianate character of his melody has already been noted. In the works of no other early English composer is the influence of the Italian Baroque so prominent. Large melodic leaps occur often. Intervals ranging from sixths to as much as two octaves are not unusual. Melodic and harmonic resolutions are ignored in a success ion of wide skips in the same direction. The parts often cross and recross each other in pursuance of a full melodic compass, and this without regard to the resolution of dissonances which may be left incomplete or inconspicuously resolved in other voices. The English fantasia tended towards fewer and larger sections as the form developed. Lawes * fantasias are the culmination of this development. Two to four sections are most usual in his pieces, and these are clearly marked by full middle cadences in related keys. The older practice of overlapping sections is discarded. A stylistic analysis of the composer's fantasias reveals several types of sec tions of different character, some of longer and some of shorter duration. Those sectional types that appear most often include fugato sections with or without development, slow dissonant contrapuntal passages, interludes for small groups of solo instruments, sections in block harmony, concertante passages, sections constructed from strings of 80 thirds in the melodic lines, variation or "division" pass ages, those containing a continuous interlacing rhythm in syncopations or "bindings", and extended cadences or codas. These various types had no regular pattern of recurrence. Thus, the composer had a variety of contrasting sections to draw upon as miniature movements for his larger works. Among these, the fugato opening with development be comes especially important, often occupying as much as one half of the entire composition. (Lawes' fantasias fre quently achieved the length of one hundred and twenty measures or more.) The entering points of imitation com plement each other in subject and answer type "reports", usually until all parts have completed an exposition. At this point, instead of merely repeating the procedure or moving on to a new stretti section, Lawes begins his devel opment. He may use the theme intact and begin his imita tions at unusual intervals such as the second and seventh, gradually shifting the tonality. At the same time he may tighten up his stretti, or, varying the theme in figurations; he may loosen temporarily the imitative cords vhich bind the work together. The following illustration is from the opening section of the second movement, entitled "Fantazy", of the Six-Part Consort Suite No. 1 in C Minor: Ex. 2 81 Opening section, 2nd mov't., "F an tazy " 6 -p a r t Consort S uite No. 1 in C m inor Treble Viol I. Treble Viol II. Tenor Viol I. Tenor Viol II. B ass Viol I. B ass Viol II. 0 . 4 sS i J ,J. ^ >JTnjrn f 82 Often the theme itself may be modified or even transformed, as in the case of the subject in Ex. 1 (e), which, in the development, becomes: Ex. 3 Development section 1st mov’t., "Fantazy" 6 - part C onsort Suite No. A in G m inor Treble Viol I. Treble Viol 1 1 . Tenor Viol I. Tenor Viol II. B ass Viol I. Bass Viol II. The working-out of a figure or figures deriving from the opening theme is another feature characteristic of these developments and one of Lawes' most original contributions. A good example of this may be seen by comparing the be ginning subject of the first movement, "Fantazy”, in Ex. 1 (b) with its transformation in Ex. 6 on p. 87 .^ When the development of a first section has run its course, a clear ly defined cadence, frequently in the key of the dominant, completes the section. The sectional type in which the composer employs smaller instrumental combinations as alternate choirs is another unique feature of the fantasias. Such a passage See also the example in E. H. Meyer, English Chamber Music, op. cit., p. 184. 83 ordinarily begins after a cadence and towards the middle of the piece. It is usually semi-homophonie in character. Duets, trios and quartets in different blends form short interludes which add a pleasing variety to the concentrated texture of the fantasias. The treatment of pairs of in struments in thirds, tenths and sixths should also be noted here. The use of solo instruments is another illustration of the composer's search for new instrumental combinations and colours and of his penchant for variety. A favourite with Lawes is a passage based upon melodies and counter points in ascending and descending thirds. This is the familiar Baroque progression of sequences of third-related chords, which were so conveniently used as building blocks for long sweeping passages in which the chords were spread out and often combined with consonant syncopation. These were made possible by the double common tones of the chords themselves. The progression has several variants, all of which are frequently exploited by Lawes, and are particu larly well suited for the contrapuntal interplay between the instruments.^ When the spreading of chords serves as a theme for points of imitation many interesting and often beautiful sections result. One of the best examples is the final section of the first movement, "Fantazy", of the Five- ^For an interesting example of this technique by Lawes, see the discussion and illustration in Chapter V, pp. 174-178. 84 Part Consort Suite No. 3 in C Minor (see p. 85 ). In the example above the imitations set off successions of third- related chords as the melodic lines virtually sweep down wards in ever-changing colours. By this means Lawes is successful in building climaxes. This fantasia is one of the composer's best pieces. The fugato opening introduces one of his most eccentric themes (see p. 86 ). The subject of the second section derives from the large intervals of the first theme (see p. 87 ). Character and treatment here are far removed from the placid style of the earlier fantasia. Note also the pedal G in the low est bass, which continues for ten bars, and the free disso nance treatment of the upper parts. A striking feature of Lawes' fantasias is their cadential treatment. The time-worn but gracious motet formula of the consonant fourth, which at the end of the sixteenth century had been "as frequent in Musick at the close or conclusion, as Amen at the end of a prayer",1 had long since become a vehicle for sharp dissonances. As far back as 1597 Thomas Morley speaks out against too many harsh discords in cadences, while at the samë time acknow ledging the practice as fairly common. Referring to an example in which his pupil, Philomathes, included a false ^Christopher Simpson, Compendium of Practicall Musick (London: William Godbid for Henry Brome, 2nd ed. 1667)1 p. 71. Ex. 4 85 Treble Viol I. Treble Viol II. Alto Viol Tenor Viol B ass Viol 1st mov’ t . / ’F an tazy " (ex cerp t,fin al sectio n ) 5 - p a r t C onsort Suite No. 3 in C minor à AÀ- nj g m m r - ff- f Ï-F- r-f t a f * ^é#F=*h=F=f=fF=^ :pl. -f J ■ J . . . J . ^ = — —--J-------- iai>L- : J " " V f pi>:4.,-i r- Z j # - ( • ■ - a É J. ■y i j t a r r Ex. 5 86 1st m o v 't.," F a n ta z y y (excerpt opening sectio n ) Treble Viol I. Treble Viol 1 1 . Alto Viol Tenor Viol Bass Viol f&dft — ’ - t a i -_____ ' f ( j ) 11 ? i t * ■ « Wî— ---- jP- i~._ - W L r r f f-à4\ H J^hj- a f.M 4 i t r - - J " jy ---------- \J- é' ^ J - ^ ---- f m ^ p I ? ■rCTrr 4 ^ è r = I rf f m m [A L i t L J j - ; ! r4fplJJrJi t a w t r t a -J— j_-- k w a g ' -J - g ^ — «%---- 87 Ex. 6 1st mov’t., "F a n ta z y " X excerpt, 2nd se c tio n ) 5- part C onsort S u ite No. 3 In C m inor . Treble Viol I. Treble Viol II. Alto Viol Tenor Viol B ass Viol i r r- I * r^f r relation with the cadential fourth, Morley says; . . . that and many other such closings have been in too much estimation heretofore amongst the very chiefest of our musicians, whereof amongst many evils this is one of the worst.^ In his own cadences Lawes frequently discards the tradi tional formulas completely. In their place he seeks new and surprising endings in which he intensifies the disso nance practices of his predecessors. ^Morley, o£. cit., new edition ed. by R. Alec Harman (London: J. M. Dent & Sons Ltd., 1952), p. 272 88 The most interesting of the sectional types are the slow, dissonant passages occuring in the middle of a work or immediately preceding the final cadence. These are among the most exquisite passages to be found in all chamber music and deserve careful attention. To understand them is to understand the very essence of Lawes* technique. The middle section of the first movement, "Fantazy*’, of the Six-Part Consort Suite No. 4 in G Minor, is for that reason singled out for analysis (see p. 89 ). The example begins two bars before the close of a spirited development section on the dominant of C minor. A remarkable deception occurs at bar 84, where the E ^ implies the major chord of the tonic. The parts in the previous bars are left hanging in suspense, cut off by the minim pauses and denied their melodic resolution to the tonic. When the parts do enter the tonic is present, but the expected consonance b is shattered by the unprepared entry of the dissonant A . This is treated as a suspension and resolved, but the de ception is further drawn out by a new dissonant combination occuring between the outer parts in the form of a diminish ed fifth. The proper resolution of this dissonance leads to the key of F minor. But the new key feeling is im mediately weakened in the next bar by the introduction of the major third in the bass, which once more sets up the dissonance of the diminished fourth— this time between the Ex. 7 89 1st mov’t.," F a n ta z y " (m iddle section) 6 -p a rt Consort Suite No. 4 in G minor J J ^ t o = [ 84] ■ I - bJ 1 r -------------- H H 'jjjj kfl— p—J ' 1 * [yj J- bA>-g; — CPk ^ l ^ ' b J — — 3 ®-----1 • — -J US f . . J # 4 f = >|I> r— n r l 9i ^ i O 1Î4* — --- gy- c f ^ ^ ÿ- - p . - . = t o r-Ff — - 0- ' t o 90 outer parts. This dissonance can hardly be said to resolve at all since the movement of the to the crotchet, C, acts more as an auxiliary note than as a resolution, es pecially so since the harmonic rhythm is here governed by minims and the second treble immediately reverts back to the without any previous preparation in its own part. Bars 86-8 show the composer's attitude to part-writ ing. We see here how Lawes employs his instruments in dissonant voice crossings for the purpose of adding pun gency to his imitations. The bass of the diminished fourth in bar 87 proceeds upwards as a retardation in the follow ing measure, containing an element of harmonic deception for the imitative entry of the second treble in bar 87 as it proceeds to a minor chord. The entrance, in bar 88, of the G in the first treble, creates the tritone with the D-flats of the first tenor and second bass. To make matters more dissonant, the in the first tenor moves to C while the second bass still holds on to its against the treble G. Even then the bass does not resolve proper ty ly but leaps upwards to B . The tension is redoubled in bar 89 by a veritable tone-cluster on the second minim as the parts proceed to the dominant of the key. Mean while, the second treble makes another unprepared disso nant entry on A^. Upon the first crotchet of the dominant, in bar 90, Lawes introduces the familiar cadential idiom 91 which combines the four-three suspension with the preced ing suspension of the minor sixth over the dominant. This gives us once more the fleeting sound of the augmented triad in first inversion, and coupled with this is the violent, simultaneous cross relation between the Eand the E^. A full-grown tonic six-four cadence results, de flected only by the major third of the tonic in the bass. We are now on our way, via a brief excursion into the sub dominant, to the key of G minor,^ The example provides an admirable illustration of Lawes' technique of dissonance. Moreover it enables us to understand the principles by which the composer was guided. Irrespective of the numerous clashes, unprepared and unresolved dissonances, and strange progressions, his technique is based upon the same rules of English harmony that governed all early English masters. The basic tenet of this technique is the principle of the independent movement of the parts. When this principle is applied in the composition of music in the melodic minor scale, with its mobile sixth and seventh degrees, several highly disso nant contrapuntal and harmonic combinations arise inevi tably. It will be remembered that it was this scale which emerged from the application of musica ficta to the earlier ^The complete fantasia is available in print (see footnote 1, p. 64 ). 92 modes, and which formed the basis for the pre-tonal har mony of the early Baroque. Dissonant passages are met with in Lawes' music only in the melodic minor. His work in major keys is singularly bare of bold, dissonant, har monic ventures. Thus we can understand how it is in the above example, that despite the succession of unprepared dissonances setting off the points of imitation, the aug mented and diminished chords, and the unusual melodic leaps, there is not one note which may properly be called chromatic, except possibly the raised third in the bass of bar 87. Diminished and augmented intervals arise naturally from the juxtaposition or succession of the minor third of the scale with the sharped seventh, the raised third with the flatted sixth or flatted seventh, the sharped seventh with the fourth, etc. The familiar cross relation between the raised and lowered seventh degrees may also be mentioned here. All arise when the parts are treated in a logical manner which attaches first importance to linear considerations. But Lawes' dissonance treatment is no mere "accident” of the English linear practice, as we can judge from the passage from the 0-minor fantasia. The composer has mastered the style to suit his own pre occupation with jarring counterpoints and pungent harmonies. It is significant that not one of Lawes' Consort Suites was written in a sharp key and that the great major- 93 ity of the pieces in the collection are in flat minor keys. These were the keys which were often used for the ex pression of sorrow, brooding, laments, deep passion, melancholy, pain, etc. One key especially may be singled out from the others as William Lawes’ most favoured tonal ity, and this is C minor. Indeed, the majority of the composer’s finest works, in all collections, vocal as well as instrumental, are set in this key.l This fact allows a deeper insight into the innermost feelings and thoughts of the composer. There can be no doubt that despite his debonair appearance, the frivolity and bawdiness of many of his songs and catches, and his general reputation for a ’’devil-may-care” existence, William Lawes was essentially a lonely and brooding genius, trapped in the exclusive surroundings of decadent court splendour. We have recognized in Lawes’ fantasias a fusion of both English and Italian styles. That Lawes should have been exposed to Italian influences is not at all surpris ing. ’ ’Italianisms” had been seeping into English music since at least the last third of the sixteenth century, when the works of Italian madrigalists were introduced to the English musical public. Instrumental as well as vocal ^The key of C minor was not usual in Lawes’ day al though it was certainly known. In 1597 Thomas Morely was adamant against its use by singers because of the added accidentals, although he admitted that organists often transposed into that key ’for ease of the singers’, op. cit., pp. 261-2. 94 music felt the impact from abroad. Thus, Lawes’ "Italian isms” need not have been the result of direct contact, for the tendencies manifested so boldly in his instrumen tal music had been building up inside England itself for at least half a century before he produced his major works. Significantly, Lawes was a pupil of Coperario (otherwise Cooper), who is said to have spent some time in Italy, and, evidently impressed with the state of music there, to have affected the Italianized version of his name upon his re turn to England. How much Coperario himself was influenced in his own works by his alleged sojourn into Italy is a subject for another study.^ We may surmise that Coperario familiarized his pupil with the Italian techniques at least, but to what extent any Italian influences, which may have been brought to England by Coperario, were in turn passed on to Lawes cannot now be determined. We can get some idea of the musical education which Lawes re ceived under Coperario from the letter’s important theo retical treatise. Rules How to Compose.^ From the Rules we may assume that Lawes was introduced to the dissonant style in his childhood, since he was indentured at an early ^In his introduction to the facsimile edition of Coperario’s Rules How to Compose (Los Angeles; Ernest E. Gottlieb, 1952), p. [l]T kanfred Bukofzer points to the fact that Coperario’s music does not, for example, show the influence of the modern recitative of the Florentine opera. 2lbid. 95 age to the Seymour household, of which Coperario was the chief music master. It may even be that the master wrote the treatise for his highly talented pupil.^ The Jate c. 1610, which is ascribed to the manuscript by Dr. Bukofzer, is just about the time that Lawes would have been under Coperario’s instruction. The succeeding chapters will illustrate how com pletely dependent Lawes was upon his teacher for the musi cal forms in which he worked. We now note, in examining the Rules, the similarity between the contrapuntal and harmonic techniques of the two composers. One of the most striking and at the same time most revealing resemblances is a feature of Lawes' harmony which has already been much discussed here— his particular liking for the sound of the augmented triad. In his introduction to the facsimile edition of the Coperario treatise. Dr. Bukofzer repeatedly calls attention to the theorist’s propensity for exactly the same type of thing. Characteristically, Coperario himself does not even once refer to the dissonant triad, nor even to the diminished fourth arising from its inver- ^Bukofzer suggests that the treatise may have been written at the request of John Egerton, Earl of Bridge water, who owned the only extant copy of the manuscript, for the instruction of Egerton’s children. However, since the manuscript in the Huntington Library is not known to be autograph, and since Henry Lawes (who is not known to have studied with Coperario) rather than Coperario in structed the Egerton children, this argument is not con vincing. (See ibid., intro., p. [3j . 96 sion. We are, oddly enough, more concerned with what we find ^ passant in the theorist’s examples than we are with those things he intends to illustrate. Thus we find augmented harmony appearing unprepared, unusual dissonant intervals between the outer voices and dissonant combina tions in quick succession, all without a word of comment from the author (see Ex. 8, p. 97)/ The cadential use of the augmented triad in first inversion is a hallmark of the early Baroque. Evidence suggests that it first appeared in the sixteenth-century Italian madrigal. Numerous examples may be found in the works of Gesualdo, Giovanni Gabrieli, Anerio, Marenzio, Croce, Monteverdi, and others. In England, too, examples are present in the works of the late madrigalists, es pecially in the music of Wilbye and Weelkes. Significantly, many of the compositions of the Italians that were pub lished in England before the turn of the century contain the augmented triad in some form or other, e.g. Nicolas Yonge’s Musica Transalpina of 1588 and 1597, and Thomas Mortoy’s two collections of songs and madrigals, "Celected out of the best approued Italian Authors", of 1598. Co perario, therefore, need not have gone to Italy to have been influenced in this direction. The augnented triad itself arises from the desire to exploit the affective intervals of the melodic minor key, and it thus appears folio 21 (b) folio 22 o folio 23 ■ & - 98 on the mediant and submediant degrees of the scale. Verti cally, its earliest application seems to have been to heighten the tension of the cadential formula of the con sonant fourth, where, by suspension, it acts as ornamental to the dominant. Both Coperario and Lawes, however, intro duce the triad without preparation, recognizing it as an independent harmony. Lawes also uses the submediant variety as ornamental to the final tonic in drawing out a plagal cadence. The augmented triad in second inversion, on the other hand, was frequently used for sudden modu lations to subdominant keys--arising as a double suspen sion, resolving to the diminished triad on the leading note, and concluding in the new tonic (Ex. 8 c). Lawes recognizes even this inversion as an independent harmony and employs it without preparation (Ex. 7). The augmented combination has its theoretical basis in the intervallic harmony of the early Baroque. The two essentially "chord al" rules that were employed during this period provided that over any given note in the bass it was possible to place, (1) the third and the fifth (root position), and (2) the third and the sixth (first inversion). The com poser, meaning to extend his cadence, avoided the fifth of the dominant or tonic and simply used the sixth. Be cause of the mobility of the parts in melodic minor keys this could give rise to the combination of a major third 99 with a minor sixth, which, of course, is our augmented triad in first inversion. The resulting diminished fourth between the upper parts was considered enharmonically as a major third and not as a true dissonance.^ In Theory, therefore, the entire combination could be rationalized, and so it was not proscribed, despite the fact that, all intervals being "consonant", the result was nevertheless dissonant. From the foregoing discussion the reader might assume that all or even a major part of William Lawes" work is characterized by eccentric melodies, violent dissonances, strange augmented and diminished progressions, etc. This is by no means true. These more radical fea tures occur only in the slow, dissonant sections and in many of the extended cadences of the larger works in minor keys. While they appear frequently enough to warrant closer examination and to set Lawes apart from his con temporaries, they account for not more than a fraction of the composer's serious production. These same "radicalisms', ^ich appear so advanced to the modem musician, may be mistakenly construed to be progressive tendencies in Lawes' music. Certainly, when considered as an extension of late English renaissance techniques, they are indeed very ad vanced. They appear even more so to us, with our know- 1Christopher Simpson, Compendium . . . , op. cit., pp. 94-5. 100 ledge of the later development of music, for not until more than a century and a half after LawesV death did such freedom begin to return. But it was exactly this type of dissonant contrapuntal freedom which the new Baroque con sidered conservative and out-moded in the light of the more preogressive and simplified chordal techniques of the new monody. The Consort Suites are therefore conser vative for their time when compared, for example, with the much more "progressive" Royal1 Consort. And yet it is the large fantasias and aires which are of far greater worth and interest to us today. It has been necessary, in the present chapter, to restrict the discussion mainly to the fantasias, ^ich are the major productions of William Lawes' consorts for viols. Even so it has not been possible to do more than single out a few works and to examine some characteristic features of the composer’s technique. Several excellent fantasias have not been quoted at all, to say nothing of the stately pavans, the many charming aires, the In No- mine’s, the two Consort Suites for four viols, and the two excellent six-part fantasias from the Royall Consort. The latter are especially important for the opportunity they afford of studying Lawes’ early fantasia technique. It is to be hoped that publication of all of these pieces will appear in the near future and so enable the student 101 to examine and above all to perform this exceedingly fine collection. Ideally the Consort Suites should be performed upon the instruments for which they were written. However, since the number of viol consorts active today is pitifully small, even the most severepurist would not have us neglect this great wealth of instrumental music for want of a con sort of viols upon which to perform them. Besides, Lawes’ fantasias and aires are well suited for performance by violins, violas and cellos. In some pieces the tenor viol may have to be replaced by a cello, or a few notes in the tenor viol part may have to be raised an octave to accom modate the viola. At times a simple transposition will put everything in order, but other than this there is little to impede the successful performance of these works by a group of modern strings. Modem editions of the Consort Suites will require careful and understanding editing. Tempo and dynamic markings, although implied by the character of the music itself, were not generally in use in England before the Restoration. It was not until after Lawes’ death that John Jenkins, Matthew Locke and others introduced musical directions in the English language. The need for these indications had of course arisen much earlier with the new aesthetic concepts of the early Baroque. That Lawes’ 102 music requ&Bs such interpretation is clearly evident from the contrasting moods of the sections. Editorial aids are especially necessary at the beginning of these sections for indicating the character and proper tempo of the music. They are also desirable for setting off the counterpoints and entries, for the indication of proper bowing, for the retarding of extended cadences and for various shades of dynamic expression. CHAPTER III THE "ROYALL CONSORT" Early instrumental research has in the past mainly concerned itself with the larger composed works of impor tant musical figures. Short secular dances have often been disregarded in the historian’s quest for more in tellectually contrived works ; and yet, on the Continent as well as in England, the leading composers of the seven teenth century wrote prolifically in dance forms. Peuerl, Schein, Scheidt, Salamone Rossi, Besard, Froberger, Gibbons, to mention but a few, have left numerous whole collections of such popular dances. In the hands of these learned composers the various dance forms gradually be came stylized and ordered into suites which in turn con tributed to the development of the sonata da camera, the trio sonata and the opera overture. Whithin the simple dance forms new instrumental techniques were explored, resulting in the introduction of exciting rhythms, more extended melodic compasses, daring harmonies, more tuneful melodies, new combinations of instrumental colour, various techniques of figuration and a valid style of instrumental writing. These new techniques were carried over into the larger forms of in strumental music as the century progressed. Fantasia, 103 104 ricercare, canzona and other related forms furnish ample evidence of these influences from the dance. Like his contemporaries, William Lawes too wrote a great deal of instrumental music of the popular dance type. Much of it undoubtedly was designed for the revels of the aristocracy at the Court of Charles I. Some of it later found its way into many of the printed collections of the seventeenth-century English publisher, John Playford, while other more elaborate dance collections such as the Royall Consort, were never published. In the library of Christ Church in Oxford are six part-books bound into one volume, the manuscript bearing the title, "Mr. William Lawes his Royall Consort". It contains sixty-six pieces of instrumental music for two violins, two bass viols and two theorbo lutes. With the exception of but four works, two fantasias and two "eccos", all of the pieces are in dance forms, including pavans, almans, aires, corants, galliards and sarabands.^ As was customary in seventeenth-century manuscripts as well as in published collections of the period, the pieces are grouped according to key, and within the key grouping, into ordered suites. The manuscript is not barred and is in a clear ^The spelling of the titles of these dances varies considerably. I use the most common English spellings found in manuscripts and publications of the seventeenth century. 105 mid-seventeenth-century hand. This volume has hitherto been considered the most complete and authentic extant version of the Royall Consort. In addition to the above manuscript (Ch. Ch. 754-9), at least fourteen other manuscripts contain the Royall Consort in whole or in part. In comparing these many versions one is puzzled to find several important differ ences between them. The number of parts varies from as few as two to as many as six, while the number of pieces comprising the complete collection is anywhere from twenty- five to sixty-six. No two manuscripts correspond in the order of the pieces or suites. Some of the copies are barred differently and others not at all. The two upper parts are often reversed; sometimes they call for violins and at others for treble viols. In some manuscripts no indication of the instrumentation is given at all. In several the inner parts do not correspond. One dares not even attempt to solve the confusion of accidentals. In deed, it is quite understandable that investigators, from Bumey onwards, have been content to accept Ch. Ch. MS. 754-9 as the most authentic copy of the Royall Consort. There is perhaps a touch of irony in the fact that barely a few hundred yards from Christ Church, in the Bod leian Library at Oxford, the autograph of this collection has remained undetected and yet perfectly accessible for 106 at least two centuries; undetected because the cantus parts are reversed from the version in Christ Church, because the order and number of pieces are not the same and be cause William Lawes, in his autographs at least, did not give the collection the title Royall Consort or any other title.1 With the identification of these dance suites in the Bodleian autograph (Mus. Sch. B.3), many confusing points regarding the collection are resolved. The auto graph contains only forty pieces in score for two violins, two bass viols and two theorbo lutes. There are however but four parts and a thorough-bass. The latter, although indicated as such, is not figured and merely furnishes the continue for the two theorboes. The autograph score is also barred throughout ahd the composer has signed his name to each piece.% While the order of pieces is not the same as in the Christ Church manuscript the autograph too is arranged into suites within the larger key groupings. The absence of a general title in the autograph raises the immediate question whether or not Lawes himself Ifhese autographs were identified as the Royall Con sort by the present writer during the course of thisstudy. ^Rupert Erlebach, in his article, "William Lawes and his String Music" (Proceedings of the Musical Associ ation, fifty-ninth session, 1932-3), p. 108, leavesthe impression that none of Lawes* manuscripts are barred. Actually, many manuscripts containing William Lawes * com positions are barred, including all the composer’s auto graphs in score. 107 gave the work the name Royall Consort. One might even question the existence of the collection as such if if were not for the order and neatly calculated arrangement of the composer’s several extant autograph volumes. There can be no doubt that this was meant as a large work. A kind of general heading is in fact given by Lawes when he indicates the instrumentation at the head of the work.^ But the matter of the title, Royall Consort, cannot be dismissed so easily, for although the autograph does not make use of it, the majority of the manuscripts containing the work do. On the other hand, another Christ Church manuscript (Ch. Ch. 391-6), containing the same collection, is desig nated, ’ ’ Mr. Lawes his greate Consort Wherein are Sixe Setts of Musicke’ ’, and still another source merely indicates, ’’ William Lawes His Consort".^ It appears that there is no positive evidence that Lawes was responsible for the title, but it is also certain that the collection was popularly known by that name, and we may let the title stand. How ever, the autograph, which is without the attractive title. lln the autographs Lawes indicates each large group by the instrumentation at the beginning of the collection. There are no titles. ^Erroneous statements have been published to the effect that the "Create Consort" is a separate work. It is, however, a collection of sixty-two pieces from the Royall Consort. The confusion has arisen because of the fact that the pieces are not in the same order as in the other manuscripts. Unfortunately the recent edition of Grove’s Dictionary, in the course of the article on William Lawes, perpetuates this long-standing error. 108 has hitherto remained unnoticed, whereas the manuscripts bearing the words, Royall Consort, have been seized upon by historians as an example of the type of "conservative" production which pervaded the Caroline Court. No doubt the princely title has also been responsible for the sing ling out of this collection beyond all others of the period to attempt to prove the historians' point. We shall see, however, that William Lawes' collection, far from being conservative, is one of the most progressive of the seven teenth century and certainly the best produced in England. The suites of the Royall Consort generally follow the arrangement, Alman- Corant - Saraband, with more than one alman and corant (usually two and sometimes three each). A stately pavan or a fantasia often introduces the suite, which in Lawes* autographs consists of six or seven move ments. It is probablp, however, that the players in con formity with performance practice freely chose the partic ular pieces they desired from the collection to form their own suites. Evidence of this practice is conclusive in the many manuscripts containing the Royall Consort. The inclusion of fantasias and pavans at the head of some of these suites is one of the earliest indications of the developing sonata da camera, in xdiich the larger and more serious forms were added as first movements to the dance suites. 109 The matter of suites during this period must be discussed more fully, since the word "suite" is not en countered in English manuscripts of this time. The equiva lent term is the "suit of lessons". In addition we find the designation "sett", but during the earlier part of the seventeenth century this was not synonymous with the term "suite" as we understand it. The arrangement of dance movements in both manuscript and printed publications of the period was first according to key, and second, with in the key grouping, into suites.^ A "sett" referred to the entire order of pieces in one particular key and not the suite within the "sett". In some instances, however, one finds a single suite in a particular key described, for example, as a "sett" in D sol re. In such a case the words may appear synonymous and have in fact often deceived researchers and cataloguers. With this difference clearly in mind it is now possible to compare the various manuscripts with a view to determining the exact number of pieces which William Lawes intended for the Royall Consort and the correct ordering of the suites. In the autograph volume are the "setts" in D minor and D major, the former containing twenty-one pieces and the latter nineteen. The additional ^This fact has passed unnoticed by many, but will be substantiated by any examination of manuscript or published collections of the period. The arrangement by key applies to vocal as well as to instrumental music. 110 "setts" in A minor, C major, F major and major, found in other manuscripts were probably a continuation. Their absence from the autograph may be explained by the fact that the D-minor and D-major "setts" appear at the end of Lawes' volume. They may well have been continued in an other autograph which is either lost or as yet undiscover ed.^ From the number of manuscripts containing all six "setts" it is safe to assume that the original number of 2 pieces in the collection was sixty-six. This conclusion is also justified by the fact that Lawes wrote all of his larger works in collections for specific instrumentation. The twenty-six movements not included in the autograph are most certainly by the composer. As the D-minor and D-major "setts" consist of three suites each there is therefore a total of ten suites in the Royall Consort and not six. The original order of the suites and the individ ual movements are to be found only in the autograph in the Bodleian Library at Oxford. The six part-books in Christ Church, each titled for a separate instrument, have misled some historians as ^Precedent for this claim is established by the continuation of the five- and six-part fantasias and aires in two autograph volumes. I am firmly of the opinion that perhaps as many as a dozen or more autograph volumes by William Lawes are either lost or not yet discovered. See the discussion in Chapter I, pp.48-49 concerning these. ^Further to this in footnote 1, pp.113-114. Ill to the correct number of parts in which the work was written. A comparison of the two theorbo parts shows that these are merely doubled. The autographs confirm this and 1 the fact that they are the thorough-bass. Furthermore, closer examination of the two bass viol parts in both manuscripts reveals a peculiar switching of parts between these two instruments, as illustrated in Ex. 9. In the first phrase, while the second bass viol has a genuine third part, the first viol doubles the thorough-bass line and is in effect acting as a continue. In the second phrase the viols exchange parts with the first bass viol now playing the third part and the second bass viol doub ling the theorboes. In reality therefore, it appears that the Royall Consort was written in three real parts plus thorough-bass, despite the fact that the instrumentation calls for six instruments. This arrangement is curious, particularly for the contrivance of the inner part between the two bass viols. The foregoing technique is in fact described by Christopher Simpson in his Compendium: or Introduction to Practical Musick (1667 ed.): Many Compositions are said to have two Basses (be cause they are exhibited by two Viols or Voices)when. ^In the autograph score the lowest staff is indi cated as a "through base" for two theorboes. It is un figured. There is not a single instance in any of the composer's nine extant autograph volumes where Lawes has supplied the figures for the thorough-bass. Indeed, the unfigured continue is a chracteristic feature of the early baroque. Ex. 9 5 th mov’t., "Alman" (first strain ) from the "Royall C onsort" Suite No. 3 in D m inor (Later version) Violin 1 . Violin 2. B ass Viol 1. B ass Viol 2. Two T heorboes r m r rr c c c r r T i Thro: Base 112 : ||g ' i l a i L i - - J: 113 in reality they are both but one Bass divided into several parcels; of Which, either Bass doth take its Part by turns, ^ilst the other supplys the office of another Part, Such are commonly design'd for Instru ments, i Fortunately, the discovery of a notation in another Bodleian manuscript (Mus. Sch. D.236), which also contains part of the Royall Consort, explains both the autograph and the Christ Church arrangements. On the reverse side of folio I of this manuscript is the following paragraph: The followinge Royall Consorte was first compos'd for 2 trebles a meane & a Base, but because the middle part could not bee performed with equal advantage, to bee heard as the trebles were. Therefor the Author in volved the Inner part in two breakeinge bases: which I caused to be transcrib'd for mee in the Tenor and Counter-Tenor Bookes belonging to thes. & soe bound, Wher the two breakinge Bases are to bee found & soe many figured as agree with thes in Order. The entire picture now becomes clear. Even the Bodleian autograph is not the original version of the so-called Royall Consort. Apparently, William Lawes first composed the work in the four parts as noted above, for while the autographs of this original are not extant, the four-part original does exist in at least two of the extant manu scripts containing the collection and confirms the authen- ticity of the paragraph quoted above. Following is the ^Christopher Simpson, A Compendium: or Introduction to Practical Musick (London: William Godbid”Tor Henry Brome, 2nd ed. 1667), p. 73. ^The manuscripts in question are Bodleian, Mus. Sch. E.431-6 and F.568-9. The latter is incomplete and contains only the second violin> and tenor viol parts, A note in 114 original of Ex. 9 as taken from the Bodleian manuscript, Mus. Sch. F.569: Ex. 10 5 th mov’t., "A lm an "(first,strain ) from the "Royall C o n so rt"S u ite No. 3 in D m inor (E arly version) Treble Treble C ounter tenor B ass « 1 / - J J3- \è f rirr "i"• p tip ■ —---- rui ^ TFT--L —r » ---W ~ ‘ —f— -------1 # — X J uL — * • a pr •'LLTIjf- m Tr .f i:.5$ L - — ■ * jr - L I — k w - J ^ r. ■ ■ V ■ ........ o this manuscript indicates that the first eighty-nine pieces are by William Lawes. I have been unable to identify nos. 39-61 as being by the composer except for the aforemen tioned note. In addition, five other pieces, which I have identified as by Lawes, are also not from the Royall Con sort « Furthermore, this manuscript does not have the title, and if authentic, indicates that there were at least ninety- four pieces in the original version of the Royall Consort. If this be so, then Lawes may have chosen the sixty-six best works for the later arrangement. 115 The paragraph quoted from Mus. Sch. D.236 also clarifies the reason for the composer's later arrangement in his autograph score. Undoubtedly, it was because the polarity and brilliance of the two concertante violins on the one hand and the strong continuo on the other, did not allow the middle part to be heard "equally" with the others. Here is perhaps the earliest evidence for the famous state ment by Thomas Mace in which he laments the decline of both the viols and the equal balance of the old consort. In his criticism of the "High-Prized Noise" of the "Great Idol" (the violin), he recalls the chamber music of his youth and asserts: . . . we would never allow Any Performer to Over top or Out-cry another by loud Play; but our Great Care was, to have All the Parts Equally Heard. ...■*■ Lawes undoubtedly rearranged the inner part of the Royall Consort because of the chiding of devoted amateurs like Mace that the tenor was not equal to the other parts. It is now to be determined for what reasons the composer chose to engage the two bass viols in this peculiar switching of the original tenor parts and doubling of the theorbo line. The solution to this puzzling rearrangement is again suggested by the very valuable paragraph from Mus. Sch. D. 236, which furnishes the information that the tenor 1 Thomas Mace, Musick's Monument (London: P. Rat cliff e Thompson, 1676), p. 236. 116 part was "involved", (i.e. broken up), for two "breakinge" basses.1 The seventeenth-century terra "breakinge base" referred to a certain type of variation or "division" practice whereby, on the repeat of the dance strains, the original bass line was involved in certain figurations which displayed the skill of the violist in ^ tempore playing.2 Here then is the reason for the treatment of the two bass viols in the Royall Consort ; in the later auto graph version, the two instruments took turns in performing variations upon the original bass and tenor parts. More over, in comparing the original tenor part with the later version one finds that many of these variations are in fact written out by the composer himself. This rearrange ment not only bolstered the inner part but satisfied the English penchant for "divisions". Instead of one bass viol being bound to the continuo, the two players took turns in displaying their skill. Following is an illus- ^Several of the Royall Consort manuscripts indicate "breakinge bases". ^The bass viol was the virtuoso of the viol family. English violists in particular were famous for their skill in ^ tempore playing and were much in demand at European courts! The bass viol itself was built in a smaller size and termed the "division viol" or "breakinge base viol" in order to facilitate the performance of swift variations. The various types of variations are discussed in detail in Chapter IV, pp. 146-155, and the "division" viol is de scribed more completely in Chapter VI, pp. 192-193 Lawes was one of the great "division" composers of the seven teenth century. 117 tration of Lawes' own "breakinge base” parts taken from the "Aire" of the second suite in D minor. The original middle part from Mus. Sch. F.569 is given on the fifth staff of the score for comparison (see pp. 118-119). Oddly enough, the importance of this discussion is to be noted in the light of the continental development of the trio sonata. In his original version, Lawes wrote the Royall Consort in four real parts as a series of dance suites. This arrangement must have been a very early work, perhaps c, 1620, and was most likely written for four instruments, probably viols for the lower parts and violins for the upper ones. At this time the composer was not yet ready to give up the middle part of his com positions, even though he made use of the new concertante techniques in his upper parts. Later, finding his middle parts weak and out-moded he compromised by inserting "Divisions" for two bass viols, treating the tenor as a "descant" to the bass in a technique which was common at the time in compositions for twobass viols and organ.^ In the latter the viols frequently exchange parts, one holding or "breakinge" the bass while the other performs "descant" division to it. In the later version also the new thorough-bass technique was added by the composer to iThis technique is discussed fully in the section dealing with Lawes' own suites for two bass viols and organ in Chapter VI, pp. 207-219. 118 Ex. 11 Second mov't., "A ire*'(first strain ) from th e "Royall C onsort" Suite No. 2 in D m inor Violin 1 Violin 2 B ass Viol 1 B ass Viol 2 Countertenor from Bodleian, M us.Sch.F569 Two T heorboes Thro; Base te I È 120 bolster the bass part. This Lawes did by designating the original bass line for two theorboes. The transformation which took place in the Royall Consort from a four-part consort work to a three-part form bearing marked resemblances to the developing trio sonata is an exciting find, for it shows the problems which con fronted the composer in the face of new developments from abroad and it is a striking illustration of how one impor tant master actually reworked an entire collection of suites in an attempt to meet these innovations and at the same time satisfy popular taste. In several respects the later version of the suites in the Royall Consort reflects strong influences from across the Channel. The two violins are concertante, imitating, crossing and recrossing each other at equal pitch. These lively upper parts, to use Mace’s description, "Out-top and Out-cry" the others. The continental basso continuo is also a very real part of these suites. Another characteristic of the trio sonata evident in Lawes* collection is the more homophonie treat ment and the absence of learned contrapuntal techniques. Then too, there is the fact that Lawes* dances are stylized and arranged into suites. Unlike the older practice of dance "couples", these dance movements are not in pairs and bear no thematic relationship to each other as is the case in the much more conservative collection by Johann 121 Hermann Scheln, for example the Banchetto Musicale of 1617. It appears, in fact, that apart from the presence of the "breakinge* bass part, the suites of the Royall Consort might very well be taken for some of the earliest examples of the Baroque trio sonata. That the collection was actually recognized as such in contemporary sources is evident from a manuscript of the Royall Consort which is now in the British Museum in London, Add. 31,431. The title of the work as given there is as follows: Consorts of 3 parts, viz. 2 trebles and 1 Bass, with a Bas. contin. also A tenor parte for the royall consort from No. 1 to No. 66 The Royall Consort by William Lawes 3 parts. The arrangement described is of course that of the trio sonata, and yet the copyist acknowledges the existence of a tenor part which he does not use. The unique treatment accorded the original tenor part inthe later version of the Royall Consort also provides a clue for estimating the date of that version, for in a later collection of sonati da camera the composer discarded the tenor part completely and thus broke away from his early concept of the equally balanced consort.1 This together with other considerations of form, harmonic content, melodic treatment and some fur ther evidence makes it clear that the Royall Consort could ^Lawes did this in his violin sonatas. See the dis cussion of these works in Chapter V. 122 not possibly have been a late work.^ Its date can hardly be later than about 1630.^ The employment of two theorboes for the thorough bass in the later version of the Royall Consort to support the "breakinge base" of the viols is also interesting as an example of the use of that instrument in consort. The theorbo was indicated as an optional instrument for the realization of the thorough-bass, together with the vir ginals and harpischord, until about the end of the eigh teenth century. The instrument of Lawes* day was^double- necked lute about three and a half feet long. The extra neck and peg box anchored up to seven "courses' or pairs of diapason strings which were tuned in octaves and ran outside of the fingerboard. They were therefore not fingered but plucked "open". The diapasons descended dia- tonically to to GG below the bass staff. The six "courses" of strings which ran over the fingerboard employed the normal lute tuning, G--c--f--a--d'--g', and each pair of Isee the discussion on p. 132 concerning the arrange ments of the "Alman" from Suite No. 6 in D Major as a five- part "Aire". %E. H. Meyer, English Chamber Music (Lawrence and Wishart, 1946), p. 181, gives the date c. 1640, but offers no explanation for his claim. Rupert Erlebach, 0£. cit., p* 109, would have us believe the Royall Consort to be a late work because it calls for violins. Violins were written for in England long before Lawes * time by the Lupos and others, including Coperario, who died in 1626. 123 strings was tuned in unison.^ Because of the tension pro duced on the highest string, due to the largeness of the instrument, this string was usually tuned an octave lower. The theorbo, therefore, had a range of more than four octaves, when the highest string was not lowered. When the instrument was written for as a thorough-bass instru ment it dispensed with the usual lute tablature and played from ordinary notation. Early theorbo parts, as those in the Royall Consort, were not figured and yet the player was expected to be able to furnish the harmonies as he went along. Since Lawes specified his theorboes as a "through base" in the Royall Consort, it is clear that the players were to furnish harmonies upon the unfigured bass line. Some analysis of the dances in vogue in England prior to the middle of the seventeenth century is essential for an understanding of the dance forms of the Royall Con sort . By far the overwhelming majority of dances found in extant manuscripts of the period are in four major types: pavans, almans, corants and sarabands. The all- inclusive term "aire" could be used for any of these dances in their stylized forms but was more often an inter changeable term for the alman.^ By Lawes* time the pavan iThis tuning is among those given on p.198. ^Any piece of instrumental or vocal music might be called **aire in seventeenth-century England. 124 was no longer a member of the dance pair, pavan-galliard, which was so popular during the last half of the sixteenth century.1 The pavan had dropped its nachtanz and had be come stylized in several respects. In fact, only the fantasia was more important than the pavan form as a serious and larger vehicle for the instrumental composer's art.2 The pavan consisted of three strains in duple metre. Each of these was repeated, and most often, during the repeats, "divisions" or variations were performed. The variations could be either extemporaneous or written out. The underlying rhythmic feeling is that of the dactyl, although pavan melodies of this period are by no means bound strictly to that metre. Since a complete pavan step, which contained two singles and a double, required four bars of music, phrases of this length are most common and dominate the structure of the piece.^ In William Lawes* pavans the strains are anywhere from sixteen to thirty-two bars in length. Imitation between the parts is also a Ifhe galliard was superseded in the dance suite by the saraband, g_.v. on pages 127-8. It was still used, how ever, in more serious forms, such as the chamber sonata, as a last movement in a highly stylized form. Lawes does this in his violin sonatas, q.v. p. 185-6. ^Thomas Morèêy, A Plaine and Easie Introduction to Practicall Musieke, 1597, p. 180. Also see the quote by Roger North on p. 162. 3por a more complete discussion of the dance steps see Mabel Dolmetsch, Dances of England and France (London: Routledge and Kegan Paul Ltd., l949), Chapter V. 125 characteristic feature in the composition of these dances, but this imitation is not carried through for long periods as it is in the fantasia. The stately rhythm of the pavan lends itself well to the employment of daring harmonies and counterpoints, and Lawes took advantage of this form for some of his most beautiful dissonant writing. Aside from its use as a slow and dignified court dance the pavan was also used in processions at various public functions. Like the fantasia, the pavan could either stand alone as a finished work or be employed as the first movement of the dance suite, preceding the almans. The alman of the second quarter of the seventeenth century seems to differ in some respects from the earlier form described by Thomas Morley in 1597 and again by Thoinot Arbeau in 1588.1 According to these sources the dance consisted of three strains in duple metre. Arbeau explains the third strain as being lighter and quicker than the first two. Morley allows the alman to have two or three sections. Both authors indicate that the dance is set in phrases of four bars each. William Lawes * al mans, on the other hand, are without exception composed in two strains and they do not adhere strictly to the four- bar structure. Moreover, while the alman is variously ^Morley, 0£. cit., p. 181. Thoinot Arbeau, Orchesographie, new ed. trans. by Mary Stewart Evans (New York: Kamin Dance Publishers, 1948), p. 125. 126 described as a rather simple "heavie" dance, "fitly rep resenting the nature of the people whose name it carrieth" (Morley), Lawes* compositions make use of running figures and diminutions which suggest a much faster tempo. In the process of stylization the length of the strains increased, for while Morley gives the normal alman strain the time of eight semibreves, Lawes * sections average sixteen. Like the pavan each strain of the alman was repeated and usually formed the basis for variations. The dance steps consisted of the same doubles and singles used in the pavan but could be varied to permit phrases with odd numbers of bars. The character of this type of alman afforded the composer the opportunity to employ the livelier concertante principle imported from the Continent. The third movement of Lawes * suites is a corant in fast triple time and is based upon the iambic metre. The dance step of the corant is basically that of the pavan (two singles and a double), but it is danced at a much faster tempo with a skipped or hopped step before the first beat of every bar. This skipping coincides with the ana- crusic character of the iamb. Unlike the alman or the pavan, each step of the corant falls upon the first beat of a bar. The complete corant figure therefore consists of eight bars. The very nature of this dance step proves the tempo to be quite rapid, since even at a moderate 127 tempo the dancer would be left suspended in mid-air. Run ning figures are a characteristic of this dance and portray the traversing manner in which it was executed. Like the alman, the corant was fashioned in two repeated strains. Often a corant strain was repeated three and even four times in various types of "division".^ The length of the strain varied from ten to twenty-eight bars, the greatest number of the corants in the Royall Consort averaging about twenty bars to a strain. The corant, because of its live lier tempo, was treated by Lawes in a more homophonie set ting than either the pavan or the alman. In his larger suites the composer used two corants in succession for third and fourth movements. The English dance suite of this period invariably ended with a saraband. Unlike the slow and solemn sara band on the Continent the English variety was a light, fast movement which was performed even more quickly than the corant. Thus Mace says, "Serabands are of the Shortest Triple-Time; but are more Toyish and Light, than Corantoes?'? Superseding as it did the very nimble galliard, it is iThe variations which were performed during the re peats of the dance strains consisted of several definite types which were ordered in certain general sequences. A complete discussion of these types and the "ordering*' of "division" will be found in the next chapter for all of the dance forms of the suite. ^Mace, o£. cit., p. 129. See also Macejs description of the other dances, loc. cit. 128 possible that, in England, the saraband acquired some of the characteristics of the former dance. Both were based upon the trochaic metre and thus it would have been quite natural for the faster tempo of the one to influence the other, transforming the saraband into a fast dance. As stated above, the underlying metre of the saraband is trochaic. The dance may, in fact, be quickly identified by the trochee which often appears in the last measure of a strain. Lawes* saraband consists of two or three strains treated homophonically as in the corant. The strains are of a standard eight bars in length and each may be repeated several times with variations. The saraband was a new comer to England in comparison with the other dances of the suite, but it quickly gained favour. Neither Morley nor Arbeau mentions it in their treatises. A truly representative cross-section of the Royall Consort cannot be presented here, but it is possible to mention a few of the pieces which will serve not only to illustrate William Lawes* style, but also to add to the repertory of modern chamber-music players. The first of these pieces is the excellent pavan from the second suite in D minor. Possessing little of the daring of Lawes* later style, as exemplified in the larger fantasias and aires and in the violin sonatas, this piece is nevertheless a good example of the composer*s melodic gifts and a fit 129 ting testimony to his mastery of the new concertante style of violin writing. Some hint of Lawes* later style can be observed better in the introductory aire to the third suite, which is again in D minor. This charming piece embodies several techniques which can be associated with William Lawes * style. (Cf. Appendix D.) One is immediately introduced to a short disjunct melody based upon the spreading of tonic and dominant chords. This melody is a harbinger of Lawes* later melodic and contrapuntal lines. As yet it does not display the angularity of the later melodies, such as that of the fantasia (first movement) from the Consort Suite No. ^ in C Minor for five viols, but one can see the composer almost preparing to dispense with the broken chord patterns and strike out in search of bold, new lines for his music. As has already been seen, this technique developed with Lawes into an intensely personal and subjective invention of melody which at times achieves a fascinating, elongated beauty which has been likened to the eccentric figures of the painter, El Greco.^ In contrast to the foregoing is Lawes * fondness for descending and ascending scale lines in thirds and sixths, employing crotchets and quavers. Entering in close stretti the parts pair off in thirds to form as it 130 were a cogwheel descent in the first strain. Later, in the second strain, the same technique is used again, but this time in an ascending scale line. The opening of the second strain illustrates another of the composer’s pro pensities, and this is the "working-out" of a short figure between all the parts in the true concertante fashion. While the technique is quite simple and direct at this stage, we shall meet it later on in more complex appli cations by the composer. The closing measures of the D minor "Aire" are once again a portent of the later Lawes in the beautiful melodic line of the condnuo as if falls by ever widening diminished intervals to the sharp third of the key and then rises to the close. The introduction of the sharp third in the bass sets off a series of clashes which finally resolve upon the dominant as it proceeds to its tonic. In the second bar before the last, the sharp third proceeding upwards coincides for the space of a crotchet with the minor third of the key proceeding downwards. This produced a simultaneous cross relation.^ Continuing upwards the altered third moves to a passing note, which this time produces a minor seventh between outer voices. When the dominant is reached in the bass, the note F is suspended Igee the previous chapter for a discussion of the cross relation as a logical by-product of the English linear techniques in the melodic minor, pp. 91-92. 131 In the topmost part. The drop of a seventh in the second violin part sets up the even more dissonant minor ninth and this is reiterated by the first violin before the resolution to the dominant traid. This example is one of the most extreme applications of dissonance writing in the Royall Consort. It results from the mobility of the parts in the melodic minor, but is mild compared with Lawes* later dissonant style in the fantasias and aires and his other instrumental and even vocal collections. In the Royall Consort Lawes* dissonances are almost always prepared and resolved, but there is often a certain restlessness, as if the composer wished, even at this time, that he could break through the ordinary conventions and step boldly forward on his own. This is noticeable, e.g., in the use of ornamental resolutions for which Lawes seems to have had a particular affinity in his earlier works.^ Aside from the dance forms discussed in the present chapter four others are included in the Royall Consort. The most important of these is the fantasia, of which there are two examples. These are the only pieces in the entire collection which are in genuine six-part writing. They are both solid works and are of particular interest as &See, e.g., the middle and final cadences of the "Aire** from the Royal Consort in Appendix D, pp. 430-433. 132 examples of the composer's early fantasia style. In the Royall Consort they are the introductory movements to Suites No. 1 in D Minor and No. 6 in D Major. Two other pieces in the collection are entitled "Ecco". These por tray their title exactly, the instruments echoing each other in short fragments in pure hoeketus technique. Another dance, from the second suite in D Minor, is called "Aire" by Lawes but is in reality a charming galliard of the type later found in the composer's violin sonatas. The last of the four divergent forms is a lilting morris dance, a fine illustration of its type. In only one instanne does a piece from the Royall Consort occur in another of Lawes' major collections. The popular Alman from the sixth suite is found rearranged by the composer as a five-part Aire in Bodleian, Mus. Sch. B.2. To the present study this particular Alman is of great importance, inasmuch as it furnishes conclusive proof that the Royall Consort was written before the five- part fantasias and aires. From internal evidence it is certain that the five-part arrangement was fashioned from both the original and later versions of the Alman in the Royall Consort. None of the composer's other five-part aires are contrived in this manner. The evidence presented in this chapter proved be yond any doubt that the Royall Consort, far from being a 133 conservative work, is in reality a very progressive one, possessing all of the characteristics of middle and even late Baroque instrumental music. The many manuscripts in which it is still extant testify to its immense popularity, not only in its own day but in later times as well. The Royall Consort is in many w^ys a unique collection and most certainly occupies an important position in the main stream of the development of the dance suite, the sonata da camera and the trio sonata. CHAPTER IV THE "HARPE" CONSORTS One of William Lawes' most interesting and attractive collections of instrumental music is that which he wrote for violin, bass viol, theorbo and harp. This set of stylized dance suites is one of the few extant collections of music for a "broken" consort and contains some of the earliest known completely written-out parts for the harp. Even more important is the fact that the "Harpe" Consorts are a key to the performance practice of the seventeenth- century English dance suite, inasmuch as they include fully written-out variations or "divisions" for the repeated dance strains. These sets of variations show not only the manner in which dance suites were performed but also the different types of "divisions" and their sequences in the repeated strains of the various dance forms. Aside from their historical significance the "Harpe" Consorts repre sent some of Lawes' finest work, indeed some of the best instrumental music of the century. Like the composer's other major works, these pieces were never published in their original and complete form.1 ‘ j i j As far as the writer has been able to determine, no notice of the existence of the "Harpe" Consorts as a collection or otherwise has appeared inprint prior to now. E. H. Meyer, English Chamber Music (London: Lawrence & Wishart, 1946), pp. 271-7, confuses these suites with _______________________134_______________________________ 135 That they enjoyed considerable popularity before and after Lawes* death, however, is proven by their presence in several contemporary manuscripts and by the fact that John Playford included sixteen of the dance movements from the collection in four of his early publications: A Musicall Banquet (1651), Court-Ayres (1655), Courtly Masquing Ayres (1662), and Musick* s Hand-maide (1663). The dances in these printed books, however, are arranged for only two instruments, a treble and a bass, and unfortunately, none of the variations are included. These simplified arrange ments or "lessons", as Playford calls them, were designed primarily for amateurs and learners and in that capacity they served admirably for didactic purposes. But the orig- inal "Harpe" Consorts with their elaborate variations could hardly have been performed by beginners. Hence the market for such a publication would necessarily have been confined to a limited number of advanced players and professionals. These apparently did not form a large enough clientele to warrant the printing of such a large and complex work. In fact, both John Playford and Christopher Simpson, author of the Division-Violist (1667), stated that the larger and more significant collections of instrumental music the violin sonatas. The latter collection was designated expressly for organ and not for "Organ or Harp" as Meyer states. Rupert Erlebach makes no mention of the "Harpe" Consorts at all in his article, "William Lawes and his String Music", Proceedings of the Musical Association, fifty-ninth session %l93z-3yT pp. 103-19. 136 with written-out "divisions" could not "enter into the light" because the cost of their publication would be pro hibitive.^ The complete collection of "Harpe" Consorts consist^ of thirty individual dance movements with written-out "divisions" for the violin and bass viol. There is, how ever, no single manuscript which contains the complete work. The main source is a set of three part-books in William Lawes* autograph in the Bodleian Library, Mus. Sch. D.238-40. These are the separate parts for the vio lin, bass viol and theorbo only and are clearly numbered from one through thirty by the composer himself. They are the only manuscripts which contain the violin and bass viol **divisions'* for the entire collection. The first twenty-five dances are ordered into six suites, each con taining four movements: alman (aire)-corant-corant-sara band, except for the last suite which has an additional alman. The pieces numbered twenty-six through thirty are five larger works of much greater musical interest than the suites proper. These comprise an "Aire", three "Pavens** and one "Fantazy**. The three pavans in particular are the highlights of the collection. Fortunately the five individual consorts are laid out, together with their ^Christopher Simpson, The Division-Violist (London: W. Godbid, 1667 ed.), p. 61. Lithographic facsimile (London: J. Curwen,& Sons, Ltd., 1955). 137 divisions for violin and bass viol and the complete harp music, in William Lawes* volume of autograph scores, Bod leian, Mus. Sch. B.3. The complete harp music to the first six suites, however, is not extant. Lawes began copying the harp parts into his organ book, Bodleian, Mus. Sch. D.229, but only incomplete harp scores to the first eight dances are to be found there. They include only the treble and bass lines of the original, as suggested by the five completed harp parts in the autograph score. That they are not merely reductions of the other instrumental parts for thorough-bass, however, is proved by the fact that the treble line is not a duplicate of the violin part, but a new and vital component of the score. The task of reconstructing most of the remaining harp scores is facilitated by another manuscript, this time in the library of Christ Church, Ch. Ch. 5. This manuscript, which is not autograph, contains the harp parts to the first twenty-one pieces. The first two suites in this folio, when compared with those in the Bodleian organ book, reveal slight variants in the treble line, but for the most part the versions are substantially the same. There is no reason, therefore, \diy the Christ Church manu script,^inothe^absence of an autograph, should not be accepted as reasonably authentic for the remaining harp 138 scores. In this manuscript also the harp music is less bare, containing an inner part in the tenor range, but this line is simply the violin part which has been put down one octave. Judging by the five completed harp parts in the Bodleian Library it is doubtful whether this type of filler was Lawes’ original intent. The real signifi cance of Ch. Ch. MS. 5 is that it supplies the new treble parts for the harp scores to numbers nine through twenty- one. There remain but four dances, the major portion of the sixth suite, for which no trace of the harp music has as yet been uncovered. In the Bodleian autograph score of the five larger consorts William Lawes has expressly indicated the instru mentation for violin, bass viol, theorbo and "harpe". The question whether the composer intended "harpe" as an abbreviation for harpsichord or truly for harp is solved by an examination of the music itself. The spacing of the chords in the bass staff of the harp score often en compasses as much as two octaves. Even allowing for the smaller dimensions of the keys on seventeenth-century key board instruments these parts would not have been playable upon a harpsichord, whereas a chromatic harp could perform the music quite comfortably. The argument that the chords may have been arpeggiated on the keyboard instrument in accordance with Baroque practice falls to the ground also 139 when the harp parts are compared with the keyboard parts in Lawes* other instrumental collections. The wide spac- ings are present only in the harp scores.^ Lawes * spelling of "harpe" may also come under scrutiny here, for in his autographs the composer has written out the names of the instruments several times, and in each case the spelling is the same, with no marks of punctuation present to sug gest an abbreviation. Throughout his autograph manuscripts Lawes seldom uses a shortened word, and when he does so, a colon indicates the abbreviation. Moreover, the same spell ing by Lawes for harp is to be found in the composer's vocal autograph in the British Museum, Add. MS. 31432, where, in the charming vocal "trialogue" between Orpheus, Alecto and Euridice, Lawes writes "my harpe is out of tune". While the argument of spelling is certainly not conclusive in the light of the variable spellings of the period, the combined evidence presented here should leave little doubt that the collection was intended for the harp and not the harpsichord. It is significant in this re spect also that at least two noted harpists were colleagues of William Lawes in the King's private music at Court. These were John de Flelle and Philip Squire, both "music- ICompare, for example, the harp score of Ex. 13, p. 157 with the organ part of Violin Sonata No. 8 in Appendix D. 140 ians in ordinary" for the harp.^ Two types of harp were in use in England at the time, the Irish harp or clarsech, and the Welsh or Gaelic harp.2 The former was strung diatonically and was dis tinguished by a curved front pillar and a swelling sound box, whereas the Welsh harp had a straight pillar, a flat sound box and was fitted with three rows of strings. The two outer rows were tuned diatonically and in unison while the centre row produced the chromatic notes. This instru ment was usually set in the Key of G and had a chromatic compass of four octaves.3 Undoubtedly this was the harp intended for these consorts by the composer. The six dance suites in the Bodleian autograph part- books are arranged according to key. Nos. 1 and 2 are in G minor. No. 3 in G major. No. 4 in D minor and Nos. 5 and 6 in D major. The five larger works at the end of the collection are in the same keys as the suites them selves and may have been designed as the first movements to them.^ Fantasias and pavans often served this purpose. iRenry Cart de Lafontaine, The King* s Musick (London: Novello and Co., Ltd., 17Ü7), passimi FKilip Squire began his career "for the lutes and voices", but ended up as a harper. ^Francis W. Galpin, Old English Instruments of Music (London: Methuen & Co. LtdT, 3rd ed., 1932), p. 15. 3Loc. cit. ^In the appended Catalogue of Instrumental Works ihê five individual consorts are listed as "Harpe" Consorts Nos.__7-ll.______________________________________ 141 as has already been noted in the five-and six-part fan tasias and aires and in the Royall Consort.1 The impor tance of these five large movements is manifest in the greater independence of the parts, in their greater length and by the fact that Lawes himself copied them into his volume of autograph scores. There is, in fact, a basic difference in the style of composition between the large consorts and the dances in the suites proper. In the un varied strains of the latter the violin has the predominant melody while both the bass viol and theorbo play the thorough-bass line. The harp serves primarily as an ac companiment. In the varied strains of the suites the violin either repeats the "aire" or melody, or "divides" upon it. The bass viol abandons the thorough-bass, but makes use of it in its own variations, while the harp again furnishes the accompaniment and the theorbo maintains the thorough-bass. In the five large consorts, however, the parts are more intricately woven. Both the "Fantazia** and the "Aire’ * are in four real parts in the characteristic- c^Lly imitative style. In the unvaried strains of the "Pavens" the main pavan melody is in the treble register of the harp score, while both the violin and bass viol perform beautifully contrived slow counterpoints to it. ^See also the discussion of the first movements of the violin sonatas and the bass viol suites in Chapters V and VI. 142 and the theorbo doubles the lowest notes of the harp. In the varied strains the violin takes over the pavan melody from the harp or "divides" upon it, while the bass viol performs its "divisions" upon the bass line which is held by the theorbo. Often, both the violin and bass viol en gage in variations together. The function of the harp in the varied repeats, however, presents another problem. In the autograph scores Lawes copied the harp music in with the unvaried strains only. The "divisions", which follow the main body of the pavans in each case, do not include the harp parts. From the directions given by Christopher Simpson in the Division-Violist it is nevertheless clear that in the composition of "divisions" for two or three instruments to the organ, the latter did play during the varied repeats and even performed variations of its own "if he had the ability of Hand".^ The harp (which here takes the place of the organ) was therefore probably meant to accompany the violin and bass viol in the varied strains, and simply repeated its part as long as the divisions last ed, or may even have improvised strains of its own. The place of the theorbo-lute in these compositions is an extremely interesting one, since its delicate plucked harmonies blend beautifully with the graceful pizzicato of the harp accompaniment. Lawes has not expressly indicated Igimpson, p£. cit., p. 58. 143 t*he theorbo as a thorough-bass in his autographs as he did for the two theorboes in the Royall Consort, and yet the single bass line suggests that a realization of the harmonies was in order. Theorbo players were well schooled in thorough-bass realization and usually performed this function both in instrumental consort and in the accompani ment to vocal music.^ While it is true that at times the theorbo did not act as a thorough-bass, these instances were rare and occurred only when a true part was written for the instrument, as in the case of the two six-part fantasias in the Royal1 Consort and the single ”Fantazia” of the "Harpe" Consorts themselves. A few observations may be made here in respect to the suites of the "Harpe" Consorts as compared with those of the Royal1 Consort. The sequence of dance movements in both collections follows generally the same pattern, i.e. Alman-Corant-Saraband. But whereas the Royall Consort suites contain six or seven movements (allowing for more than one alman or corant), the harp suites have only four or five, the extra movement being a short corant. The dances in the harp collection are therefore shorter by one-third in the number of movements comprising a suite. They are also shorter by one-third in the length of the individual strains, except for the saraband which has the ^Thomas Mace, Musick* s Monument (London; P. Rat cl iff e Thompson, 1676), p. 217. 144 standard eight-measure section. The same proportion holds true for the number of instruments employed. The signifi cance of this observation lies in the recognition of the principle that compositions of more parts were to be of greater length in direct proportion to the increased number of parts. In many respects the two collections are quite simi lar. The second strains of the dances (excluding the sara band) are longer than the first and the key schemes are the same. Either tonic, dominant or mediant modulation is used for the close of first or middle strains. But one of the salient features of the Royall Consort, the con certante interplay between the parts, is not present in the "Harpe" Consorts. The former combined the variation technique in a modified form with the all-important con certante activity of two dominating violins, whereas the ' ^ Harpe" Consorts are designed primarily for their varia tions. The seventeenth century has been called "the century of the variation." The phrase is particularly apt in re gard to developments in England during this time; for while the English instrumental art of the seventeenth century is represented in its highest form by the fantasia for strings, Wilhelm Fischer, "Instrumentalmusik von 1600-1750", Handbuch der Musikgeschichte, 2nd ed. edited by Guido Adler, 2 vols" (Berlinl Relier Verlag, 1930). 145 I no less importance must be attached to the practice and art; ! of variations, or as the English termed them, "divisions". ; ! England, in fact, had the particular distinction of develop- j ing the first important school of variation composers and I virtuosi.! 1 j At the same time that English keyboard players ' were achieving such fame at home and abroad, English vio- I lists were developing a school of their own. Encouraged I by the patronage of Henry VIII during the first half of I the century viol technique had developed considerably and was now borrowing verbatim the figurations and musical forms perfected by virginalists. Since many virginal com posers wrote for the viol as well it is not at all surpris ing that strong influence is traceable from one to the oth er, just as the vocal composition of the madrigalists in fluenced their own writing for consorts of viols. In deed, a detailed study of these early influences might prove to be valuable areas of research. Here, however, one can only point to the parallel techniques used by virginal composers represented in such important collect- iRobert Ü. Nelson, The Technique of Variation (Berkeley and Los Angeles: University oT”California Press, 1948), p. 29. For a detailed study of the virginal art see Charles Van Den Borren, The Sources of Keyboard Music in England (London: Novello & Co., Ltd., and Oxford Uni versity Press, 1913). 146 Ions as The Fitzwilliam Virginal Book, The Mulliner Book and Lady Neve11 *s Book; to such men as Thomas Tomkins and Orlando Gibbons, for example, whose writing for the viols is so evidently imitative of their keyboard "divisions". As the virginal art diminished towards the middle of the seventeenth century the viol emerged as the leading solo and ensemble instrument of the period. The noble heritage left behind by the virginal school, however, was still very much alive in the solo and ensemble "divisions" of the violists. The technique naturally had to adapt itself to the limitations and possibilités of the bowed strings' but in this it succeeded admirably. From here developed the art, which in the following decades brought the Eng lish "division" technique to its summit. It is fitting that the most distinguished treatise ever written upon the variation art was the labour of an Englishman. So well did Christopher Simpson deal with the subject in his The Division-Violist (1659), that none of his contemporaries would dare a discussion of the rules for "divisions" in print. Thomas Mace, for example, quotes Simpson extensively in his directions for playing the viol in Musick*s Monument (1676).^ The Division- Violist was republished in a second edition in 1667 and again as late as 1712. The author himself was a violist. 147 composer and teacher of international repute. In his youth he was contemporary with such famous violists as Alfonso Ferrabosco II, Giovanni Coperario, John Jenkins (who remained his life-long friend and even helped him with his magnum opus) , and William Lawes. Simpson had seen, heard and performed with the greatest virtuosi not only in England, but abroad as well. An outstanding per former and improviser himself he was therefore in anaex- cellent position to sum up the contributions of more than half a century of "division" practice. The Division-Violist is especially valuable for understanding the "division" technique used by William Lawes in the "Harpe" Consorts. So accurately do Simpson* s rules for **division’* mirror Lawes* style of writing that one might suspect that Simpson had arrived at his precepts through a thorough study of Lawes* music. The latter*s early death therefore establishes the fact that viol **di- vision’* technique reached its maturity long before Simpson wrote his treatise. A comparison of Giovanni Coperario*s directions for **divisions** in the Rules How to Compose, upon which Lawes was nurtured, with Simpson*s rules written half a century later, shows how far Lawes had gone in per fecting the art. Coperario limits the intervals which may be divided upon to thirds, fourths and fifths; his rules for descanting are elementary and his prescribed rhythms 148 are limited.! In addition, no mention is made of multiple stops or the mixture of the various "division’* types. Simpson, on the other hand, classifies the art of "division" into three major types. The first he calls "Breaking The Ground"; the second, "Descant Division’*; and the third, "Mixt Division". "Breaking the Ground" con sists of "dividing its notes into more diminute notes" and this may be done by note repetition, by the use of neighbouring tones, by scalar transitions, by chordal o figuration, or by a combination of the last two. In faster tempi the latter was often referred to as "running division". "Descant Division", as its name implies, em ploys figuration above the "ground" only, avoiding the notes of the theme itself in favour of its concordances. This type could be fast or slow. The slow variety formed the basis for some of Lawes* finest "division" writing. "Mixt Division" combines the techniques used in the first two and adds rules for disjunct figuration, multiple stops, and the use of dissonance. The combination of "Descant Division" and "Breaking the Ground" in "Mixt Division" re results in a kind of disjunct figuration which presents two parts to the ear instead of one. This type of vari- !see also the comments of Manfred F. Bukofzer, Rules How to Compose by Giovanni Coperario (Los Angeles: Ernest E. Gottlieb, 1952), intro., p. [8]. ^Simpson’s rules for "division" are to be found on pp. 27-61 in his book. 149 atlon will be recognized as a characteristic of Baroque music and was known in England by the name "Skipping Divi sion" . Another type mentioned by Simpson is "Tripla Divi sion" . This is purely rhythmic and employs whole strains in triplets. It may include all of the other "division" techniques. Examples of all of these are profuse in Lawes* * Consorts. Below and on succeeding pages are some short excerpts. In the larger varied strains, where the violin engages in a veritable "contest of division" with the bass viol, the technique of "driving a point" was con sidered the ne plus ultra of the "division" violist’s art. This consisted in the improvisation of a motive or "point" by one of the players and its imitation by the other in an improvised fantasia-type fugato strain.^ Ex. 12 ( a ) "ru n n in g division" of the "breaking bass" variety from the "co ran t" of th e "H arpe" Consort No. 2. B ass Viol T heorbo m .f.-. — ». r * 1---m----19----- !por Simpson’s description of this type see para graph 15 -in Appendix A. 150 (b) "descant division" upon th e first strain of the "A lm an" from th e "H arpe" C onsort No. 1 (c ) "sk ip p in g division"from th e "Alm ane"of the "H arpe"Consort No. 6 Violin Bass Viol Theorbo I * I » 151 ( d ) " trip la d ivision" from the "Paven" "H arpe"C onsort No. 9 Violin B ass Viol Theorbo P ü ü ^ [frrrr^ ttjnrrr»rgfm ^ Lu urn a-ijjuj [£f=üjj p |»j - - h- • J- .... U = = j = = J I Î ' 1 1 -j-. r f r t t f f r r f rfi T=£= Ÿ - tJ-J— la s a s ^ — L X J — m ^ - . . . 152 (c) "driving of a p o in t" from th e "Paverf'in G minor, "H arpe"C onsort No,. 10, (excerpt) Violin Bass Viol Theorbo Harp J2. 153 The varieties of ^division" described above fur nished the composer or performer with an assortment of techniques whereby the repeated strains of the dance move ments could be made interesting and exciting. In this respect the "Harpe" Consorts are historically important inasmuch as they reveal the formal plan for the dances of the period, together with their repeated and varied strains They also enable us to determine the proper sequence in which "division" types were used within the formal scheme of the dances themselves. The schemes employed most often by Lawes are as follows: i s m i I|.-As||iBjII:C5|IA’1|A"I|B'« Mass or Aire ^ II A' I I B I I B' I I Corant | | . / ^ . | | i g | | A" « B' I I B" I I Saraband | , A | | A'II B I I B'H C I I C'» The length of the movements alternates between long and short. The tempo begins fairly slow with the pavan and increases in speed with each successive movement. This concept of the dance suite appears purely English in character since continental models concentrate upon the alternation of slow and fast dance movements. In his treatise Simpson also devotes a section to what he calls the "ordering of division".^ Here again we see how closely his rules mirror Lawes* practices, with ^See paragraph 12, Appendix A. 154 the important exception that Simpson* s point of departure is the **Ground* * or single bass theme, whereas Lawes based his variations on both the bass and the treble lines of his dances. Simpson*s "ordering of division" provides us with detailed instructions for the sequence of the various division types and these may be traced closely in the fully written-out variations of Lawes* consorts. Thus, in the alman or aire, which usually varied a strain but once, Lawes sets his divisions in crotchets and quavers for each repeated strain. This corresponds with Simpson*s account which calls for the first variation to be slow enough to permit the identification of the theme and at the same time allow the performer to gain some familiarity with , his **ground". Lawes * first variations of a strain usually employ either * * de scant division" or a mixture of **descant** and "breaking bass*’. This is another example of a practice used by Lawes and later codified by Simpson: . . . in playing or composing Division to a Ground, we may either continue any one way (perhaps a whole Strain together) or change from This [breaking bas^ to That [descant] , as frequently as we please; inso much, that sometimes part of the same Note is broken in one sort of Division, and part of it in another, . . .1 In Lawes * corants, which vary each strain twice, the first variations are treated like those of the almans, but the second are in "running division". Again, this 155 holds true to Simpson* s directions for divisions **of a quicker motion" for the second varied repeat. Another characteristic here is the short-phrase structure, similar to the end-stopping of lines in Lawes* songs. The "divi sions" are arrested at intervals of from two to six bars by cadence-like pauses on minims or dotted minims. The latter are frequently multiple stops in the bass viol part. The saraband, which usually consists of three strains normally varies each strain but once. The **divisions** are of the slow "breaking bass** variety, probably because the fast tempo of the English saraband did not easily allow of thinking in terms of semiquavers or "descant". In sarabands of two strains the varied repeats are frequently in pairs, as in the corant, and they make use of the same "ordering" of "division**. Some of these are strongly suggestive of Lawes* "ballad** songs. The saraband from the "Harpe" Consort No. 4 m D Minor, for example, is in reality one of the composer’s most ce^brated part-songs, **0 My Clarissa".^ Undoubtedly, these dance songs were danced to as well as sung. As delightful as the first seven * * Harpe" Consorts are, they do not compare in quality with the three out standing pavans at the end of the collection. Within the ^This song with its original variations will be found in Appendix D. It is also discussed in Chapter VII, p. 250 at greater length. 156 confines of the larger pavan form Lawes pours forth a lush romanticism of majestic serenity. In the unvaried strains in particular the pavan melodies and their inter weaving counterpoints reveal the composer in some of his finest linear writing. Indeed, these last works must be accorded a lasting place besides such landmarks in the pavan form as Ferrabosco*s "Dovehouse Pavan*’, and Dowland* s "Lachrymae". An example is provided in the opening strain of the G Major Pavan "Harpe" Consort No. 8. The counter points in the violin and bass viol parts are slow "descant" division to the main theme, which is in the treble of the harp part. This theme later becomes the subject for ex tensive variations. The beginning excerpt is seen on page 157. In the remaining pavans Lawes borrows his main themes from other composers. This practice remains even today one of the most accepted ways in which the composer may pay tribute to great contemporaries or masters of the past and at the same time display his complete mastery of the variation technique. In the G Minor Pavan, "Harpe" Consort No. 10, Lawes acknowledges his own teacher, Gio vanni Coperario. The theme has been identified by the author from among Coperario*s works and, fortunately, it is to be found in print as No. 101 in the excellent collec tion of Jacobean Consort Music included as Volume IX (1955) Ex. 13 157 "H arpc” C onsort No. 8 in G m ajor P avan: (opening s tra in , ex cerp t) Violin B ass Viol Theorbo Harp #= r ê -j m ^ J T ] J: J J I J J 158 of the Musica Britannica series. Lawes uses only the first eight measures of Coperario*s bass (the time value of which has been halved by the editors of the above publica tion). Coperario’s piece is for two bass viols and organ, and in the printed score it is entitled ’’ Fantasia". It is, however, a pavan, for it is neither in the fugato style common to the fantasia nor does it employ any of the other techniques ^ich distinguish the form. In fact, Coperario’s composition closely resembles Lawes’ pavans 1 in his suites for two bass viols and organ. One bass viol either doubles or "breaks’ the bass while the other "descants" to it. Coperario’s piece, however, is divided into only two strains and these are without divisions, whereas Lawes ’ pavans are in three strains and the divisions are fully written-out. A comparison of the two works is of value, in that both teacher and pupil may be compared through their treatment of the same theme. Coperario’s work, while not without merit, lacks inspiration. In Lawes’ pavan, on the other hand, the contrapuntal and me lodic treatment is richer and more interesting, the general proportions are more expanded and technique is more develop ed. Coperario, the master craftsman, is too academic. Industry there is aplenty but that rare and most vital spark is missing. 1Lawes’ suites for two bass viols and organ are dis cussed in Chapter VI, pp.207-221. 159 The last of the pavans, "Harpe" Consort No. £ m D Ma j or, is set to a bass theme by "Cormacke". This piece contains some of Lawes* most elaborate "division" writing. Long passages in semiquavers and demi-semiquavers are not unusual here and these place great demands upon the per former’s technique. Passages of this sort had to be written by one who himself had this technique at command, or as Simpson puts it; . . . no man is fit to Compose Division to a Ground (how great a Master in Musick soever he be) unless he know the neck of the Instrument, and the Method of Fingering belonging unto it.l The D Major Pavan abounds in flourishes of written-out ornamentation, including "relishes" and "shaked turns", the English equivalent of the Italian groppi, which had been adopted earlier by the virginalists in their own highly florid figurations. Also included in this pavan are excellent examples of vdiat may be termed the "division cadence", in which the full time of the final breve is occupied in extending the divisions in one or more of the parts in order to produce the gradual retardation necessary after such a display of virtuosity. In the performance of these pavans, as well as in the other dances, the keynote is variety; not only in the choice of "division" types but also in the employment of 160 dynamics and tempo changes. One has only to read the paragraph (12), by Simpson from the Division-Violist, printed in Appendix A, p. 387, to understand that the use of contrast, dynamics, tempo changes and emotional ex pression was an integral part of this music. Simpson’s conern with maintaining the attention and interest of the listener is also noteworthy here. It belies the state ment, which has often been repeated, that this music was solely for the enjoyment of the performer. The absence of tempo, dynamic, and expression markings in Lawes* music must not be interpreted to mean that they were not used in performance. The very character of the music defies such an interpretation. Within the bounds of good taste, based upon a thorough knowledge of the period, these works may be edited for modem performance. They will provide an interesting and delightful addition to our repertory. CHAPTER V THE VIOLIN "SONATAS" There is a chapter in the history of instrumental music which is yet to be written. It concerns the develop ment of a genre of violin music in England during the seventeenth century which parallels the rise of the Baroque trio sonata in Italy. Curiously, this violin music has managed to elude historians and remains even today almost totally obscure, mainly due to the fact that it was never graced with publication. Because contemporary manuscripts do not employ a uniform terminology for these works they are referred to here as early English examples of the Baroque chamber sonata, the counterpart of the Italian sonati da camera. They are in reality stylized fantasia- suites or "setts" for one or two violins, bass viol and organ, consisting of three movements: a fantasia, an al man and a galliard plus coda. This early type of chamber sonata was cultivated in England from about the beginning of the second decade of the century and possibly even earlier. Thus a direct line may be traced from the more than twenty "sets" by Coperario to the sixteen by William Lawes, at least an equal number by Christopher Simpson 161 162 and several by John Jenkins, Matthew Locke and others.^ At the end of the century the form merged with formal elements borrowed from the early Italian sonata to cul minate in the famous violin sonatas of three and four parts by Henry Purcell. This early English sonata was in fact described by Roger North early in the eighteenth century. Referring rather nostalgically to the first decades of the previous century North writes: During this flourishing time. It became usual1 to compose for Instruments in setts that is After a fan tasia, an aiery lesson of two straines, and a tripla by way of Galliard, wch was stately; courant or other wise not unsuitable too, or rather imitatory of the Dance. Instead of the fantasia they often used a very grave kind of Ayre, w^“ they called a padoana or pavan; this had 3. straines, each being twice played went off heavyly, especially when a rich veine failed the master. These setts altogether very much resembled ye design of our sonnata musick Being all consistent In y® same Key; but the Lessons had a spice of y® french from whom we had the lute. . . .% North’s observation that the ’ ’setts" closely re sembled the sonatas of his own period suggests that the earlier form merely lacked christening and supports the It is unfortunate that the catalogue of English chamber music in Ernst Meyer’s Die Mehstimmige Spielmusik des 17. Jahrhunderts (Cassel: Barenreiter, 1934; lists the first movements of chamber sonatas by some of these composers as individual fantasias. Meyer in general seems to have missed the existence of this instrumental form, even in his latest work, English Chamber Music (London: Lawrence & Wishart, 1946). ^Roger North, The Musicall Gramarian, MS. ed. by Hilda Andrews (London: Oxford University Press, 1925), pp. 20-1. 163 undeniable evidence of the music itself that in the seven teenth century at least, England developed a chamber sonata which was mainly of its own making. In the manuscripts containing these works the sonatas are for the most part without any general title.^ Lawes, for example, simply designates his "setts" "ffor one violin, base violl and organ", or "ffor two violins, base violl and organ". Each of the individual movements, however, was entitled with the name of the dance upon which it was modelled, or in the case of the first move ment, "fantasia". The title "Aire" or "Ayre" was used interchangeably with either the alman or the galliard by many composers to signify a stylized dance.^ Thus Co perario writes his sonatas with one violin in three move ments which he names "fantasia", "alman" and "ayre", while those for two violins received the titles "fantasia", "alman" and "galliard". Lawes on the other hand calls his sonata movements "fantasia", "aire" and "aire". It was probably owing to Lawes that the chamber lln some MSS. the title "sonata" evidently does exist alongside others for similar pieces which are simply entitled "fantasia". See the article by Peter Evans, "Seventeenth-Century Chamber Music Manuscripts at Durham", Music and Letters, Vol. XXXVI, No. 3 (July 1955), pp. YDZPYJ:------- ^See the discussion of this term in Chapter III, p. 123. When used in context "aire" simply meant the tune or melody and "aiery" meant tuneful as in the last quote from Roger North, p. 162. 164 sonata became an accepted form of composition in the aristocratic musical circles of seventeenth-century England To Coperario, possibly, must go the credit of being one of the most important, if not the most important innovator of the form, but the older composer’s sonatas are clogged with reminiscences of the already antiquated style of his individual fantasias. Though exhibiting solid craftsman ship they are not successful in their attempt to blend the X new variation techniques into the old contrapuntal idiom. Lawes received the chamber sonata from his master but poured into it the strength, vigour and romanticism of a superior creative temperament. As in his large viol fan tasias so here too he does not discard the old, but rather expands and adds to the already established form. Strong, romantic melodies, larger developments, rich and dissonant harmonies and counterpoints, extended solo interludes and codas, idiomatic instrumental writing, a remarkably inde pendent treatment of the keyboard and greater insight into the technical and expressive potentialities of the violin distinguish William Lawes’ chamber sonatas from the mediocre production of many of his colleagues and suc cessors. Ipour of Coperario’s chamber sonatas are available in Musica Britannica, Vol. IX, Jacobean Consort Music (London; Stainer & Bell, Ltd.,1955),edited hy Thurston Dart and William Coates. They are Nos. 98a, b, c; 99a, b, c; 102a, b, c; and 103a, b, c. 165 The contemporary popularity of Lawes’ chamber sonatas may be gleaned from the fact that several manuscripts con taining the collection are today extant in the British Museum, the Bodleian Library and the Library of Christ Church in Oxford. One English manuscript, containing a- mong other things the sonatas for two violins, has even found its way into the archives of the Paris Conservatory.^ The chief sources for Lawes’ sonatas, however, are his own autograph volumes, which are in the Bodleian Library at Oxford. The separate parts for the violin sonatas are in the autograph part-books. Mus. Sch. D.238-40, and in the organ book. Mus. Sch. D.229. Only one fantasia, that of Sonata No. 8 in D Major for one violin, is represented in the autograph score. Mus. Sch. B.2.^ Unlike the composer’s o%her large instrumental collections there can be no question here as to either the order or arrangement of the sonatas and their move ments. As in the case of the ’ ’ Harpe" Consorts each move ment is numbered consecutively, despite the fact that they are clearly "setts". There are eight sonatas for one vio lin, bass viol and organ and eight sonatas for two violins, bass viol and organ. Both groups follow the same order of fParis Conservatory, MS. Res. 770. This MS. also contains works by Coperario, Gibbons, Locke, Jenkins, "Farabosco" and Ward. 2por the major sources of the sonatas other than these, see the Catalogue of Instrumental Works, pp. 393- 405. 166 keys; No. 1 in G minor. No. 2 in G major. No. 3 in A minor. No. 4 in C major. No. 5 in D minor. No. 6 in D major. No. 7 in D minor, and No. 8 in D major. Although Lawes himself does not distinguish numerically between the "setts" in the autographs, other manuscripts definitely number each group of three movements from one to eight. Moreover, in all manuscripts, including the autographs, the radef of movements is identical. There can be no argu ment contrary to the fact that these pieces were written as serious works in the three-movement chamber sonata form described by North. It is best to approach an analysis of the violin sonatas through an examination of the treatment accorded the individual instruments in the music itself. Each instrument can be identified with certain techniques of writing which will at the same time explain the formal and stylistic characteristics of the sonatas and point up the most significant works in the collection as well. That this should be true is in itself a striking indication of how far removed the chamber sonatas are from the older fantasia from. No longer are the instruments to be "equal ly-matched" and the parts to be "equally-heard". The in struments of the sonatas have definite roles to fulfil within the contrasting textures and open fabrics of the new style. Sometimes one or the other takes the spotlight 167 or recedes into the background, but there can be no deny ing the fact that the "scoulding" violin is the undisputed leader of the group, even over the still-venerable viol. Lawes’ death in 1645 dates his violin music before the Commonwealth. Moreover, at least seventy-five per cent of his instrumental music includes prominent parts for violins. In fact, only the five- and six-part fantasias and aires employ the full consort of viols exclusively. Thus Lawes, whose fame as an instrumental composer has hitherto rested mainly on his music for viols, was at least equally prolific in writing for the violins. His is one of the largest and most impressive collections of vio lin music written in England before the Civil War. It is certainly the largest body of specified violin music ex tant from that period. The date of the serious employment of the violin in England may actually coincide with the earliest ex amples of chamber sonatas. Its use was specified in con sorts prior to that time as well, but mainly as a substi tute for the treble viol. Violins had been accepted in English court circles by at least the beginning of Queen Elizabeth’s reign.^ Their early function was in popular dance music, in which they gradually replaced the rebecs at court revels. The violin had, in fact, become the ISee the discussion by Walter L. Woodfill, Musicians in English Society from Elizabeth to Charles 1 (Princeton; JEEinceton-Unxversity—Èress-,—1953) ,—p^.—IBSn.*-— . ----------- - 168 symbol of homophonie music, and so when popular dance tunes invaded the serious music of the viols toward the turn of the century the violins went right along. With the chang ing ideals of the new Baroque, in which beauty of melody figured prominently together with dance rhythms and vari ation techniques, the violin found a fertile field for its powers. It rode the popularity of the dance suite into the chamber sonata and emerged during the last half of the century a full-grown prima donna, with full title to the Baroque trio sonata. The all too common notion that the violin made its ✓ English debut in the band of twenty-four violins set up by Charles II in imitation of the vingt-quatre violons of Louis XIV must be repudiated. Violins played at the funerals of Queen Elizabeth in 1603 and James I in 1625.^ The Lupo family of musicians had been playing and composing music for the violins at Court since before about 1600, and by 1621 Thomas Lupo junior was appointed the first official court composer for the violins. He was succeeded in 1627 by Stephen Nau. In fact, from the year 1558 all bowed string players in the service of the English Court ^Henry Cart de Lafontaine, King's Musick (London; Novello and Co. Ltd., 1909), pp. 45, 57. 2%bid., p. 53. In 1612 Thomas Lupo is listed as violinist to Henry, Prince of Wales and after the Prince's death, to his brother, the future King Charles I. See Woodfill, o£. cit., pp. 302-3, also pp. 300-1. 169 were listed as "viols or violins".^ In the light of this evidence it is difficult indeed to attach any credence at all to the account given by Anthony Wood in which he claims that the violin was not used in the private music meetings which he attended at Oxford because it was esteemW "by Gentlemen" to be "an Instrument belonging to a common FiddlerY.2 The weekly music gatherings in Oxford numbered among their participants Dr. John Wilson, William Ellis, Edward Lowe and other prominent musicians and composers, all of whom were not only friends and admirers of William Lawes but were known to have possessed copies of his works. These men were most certainly familiar with his violin sonatas as well as with those of Coperario and others. The violin may well have remained the instrument of "com mon fiddlers", but by about the second decade of the cen tury serious composers were writing specifically for the instrument, and the violin had become firmly entrenched at the English Court. By about 1630 the intrusion of the violin upon the serious instrumental forms of the consort of viols had resulted in the remodelling of the fantasia from a compo sition of equally balanced parts in fugato style into a llbid., pp. 299 ff. 2Anthony Wood, The Life of Anthony a Wood from the . . ^ ^ I I j|i I iiiiiiiim_jpi— ■ '" I " I I I 111" ..................* fi _ eeFeaimePW* —■ ■ ■ wi ....................................................................................... 15 ^ear 1632 to 1672 (Oxford: Thomas Heame, 1772), pp. 170 vehicle of expression for the sparkling tones of the vio lin. Except for the characteristic fugato opening there are few resemblances to the older fantasia form. In Lawes* hands the fantasia is transformed into a unified movement, beginning with a strong melodic section containing lengthy expressive subjects, assuming definite direction, intro ducing development by means of various instrumental tech niques, employing several means of contrast, and conscious ly working towards a definite conclusion. Paramount is the individual treatment accorded the different instru ments. The composer is fully aware of the inherent differ ences between the conversant viols and the animated vio lins, aware also that the musical style and forms of the former must be altered to suit the particular qualities of the newcomer. Thus he could write fantasia openings of heroic proportions as on pages 171 and 172. The most characteristic feature of Lawes* violin style in his sonatas is the concertante interplay between the instruments, which has already been noted in the Royall Consort. This swift repartee may take place between the violin and bass viol in the sonatas for one violin; be tween the two violins in the second set of sonatas; or between all of the instruments at once. For the first time the concertante technique invades not only the sty lized dance movements, but the fantasia itself. Thus the Ex. 14 171 \ Violin Sonata No. 1 in G minor 1st mov't./'FantaziaV (beginning excerpt) Violin Violin B ass Viol Organ A . 1 T 'f * ■ ■ J J J J J * ■ o b^>--1 1 ^ 7 ^-^-- ■ arj -J ^ J-J, - o - ~i ~, V , - i ^ 7 ^ --- =: r J 1 1 j J J J]| ------f— H — f - >-J r' ' ^ L*— ( • — p— ^— p m f r r ' r r r J J J] J 173 first movements of the violin sonatas, unlike those of the five- and six-part fantasias and aires, no longer can be distinguished by clear-cut fugal sections or other charac teristic passage types. Instead it is the repartee of the instruments themselves, often growing out of a beginning fugal exposition and mingled with various "division" tech niques, which assumes dominating importance. Typical in strumental figures are bantered about in close imitation or in clear alternation for development purposes. At the base of this is the short thematic fragment which is treat ed in a lively, kaleidoscopic fashion. "Division" technique is another prominent feature in the violin parts. This is often combined with the concertante style itself to produce a gradual heightening of tension as the added figuration gathers momentum in the tightly interlaced fabric of the development. An ex cellent example of the employment of "divisions" by the violin may be seen in the first movement of the Violin Sonata No. ^ in D Major for one violin, bass viol and 1 organ.^ It has already been noted that the chamber sonata, or at least the first movement, was a fusion of many styles of writing. Nowhere is this more evident than in the treatment of the bass viol. It is in fact possible to iThis piece is printed in Appendix D. 174 distinguish six distinct types of writing for the instru ment. They are: (1) as an independent contrapuntal part, (2) as a basso seguente, doubling the lowest bass of the organ part, (3) as a "division" viol, performing variations on the bass part, (4) as a partner to the violins in concertante passages, (5) as tacet while the keyboard plays a solo inter lude or accompanies the violin in a solo passage, and (6) as a soloist in its own right accompanied by the organ. Thus Lawes employs every type of technique, blending the old and the new into one unified work. But most prominent in the writing for the bass viol is the in fluence of the English "division" skill. The following example from the first movement of Violin Sonata No. 6 in D Major for two violins, bass viol and organ is a good illustration of this art. In the autograph the composer provides an alternate part for the difficult divisions, this alternate being the bass line of the organ part; The effect which Lawes achieves from the variation of a simple scale line, employing all of his instruments, is extremely interesting. The sequential design of this variation-development is carried through to the very end 175 Ex. 15 Violin Sonata No. 6 in D major 1st mov’t., "Fantazia, (cxccrpt) Violin Violin Bass Viol Organ m 176 JLh , ,= ■ g p 1 1 f f - J—— itt# 1 U -c J ^ f ' ^ J #= - p -- f -r r - - | # -1 -1 --- /-'* 1 — lit# „ J «*_ ---- — — < 1 » L J ---- # 1 # - f =& r f / i r r * [ f ■ ^ i * ' T i r” l * ' r 1 t - - ■ - 1 - -jL J r ■ % - w À ''.---'' - j ------" L J -i , j j > pV^, , -H #^=F=P= J / =^= o — >ffP i4==^ *r _0__ l - -- - * ’ J— * — -- j ~ i T.- r i \ . — < 9 ^ ----- 7^-* -k J ..: ± jlj 1 - r Lrr- " 1 J ] J n 1 = 1 % p " r 1 . . M u r =# . A . . < T ' ^ ^ m Æ ---------- 177 of the movement. The entire passage Is a good example of Lawes* architectural planning. Above a rising, "broken" bass line the composer builds an interlaced network of patterns, all based upon the rising and descending D major scale. The technique employed is the familiar Baroque device of consonant syncopation whereby, in the terminology of intervallic harmony, the sixth alternates with the fifth to produce a succession of chords in root position and first inversion.1 On the way down, the same technique is used but this time the harmonic rhythm eases the parts by thirds over the interlaced descending scales. This tech nique was a favourite of viol composers, since the conso nant syncopation produces successions of thirds, enabling the use of long double-stop passages which are easily fingered on the viol. It is one of Lawes* favourite de- vices in building up intensity. And as for the viol, one may see it employed here on the one hand in doubling the bass of the organ and on the other as a genuine "division** viol, making use of the three familiar categories of ^Coperario gives the complete rules for this tech nique in his Rules How to Compose, c. 1610 (Los Angeles: Ernest E. Gottlieb,1953%, £. 22r, T2 v. Also see the introduction to this by Manfred F. Bukofzer, pp. [ll^ and ^13'3 > where he discusses the implications of this tech nique in the evolution of the IIP.-V-I cadence. 2gee also the vocal example to the words "Build up thy walls" in the example and discussion in Chapter X, pp.364-365. 178 "division"; "breakings base", "descant**, and **mixt**. Note particularly this last, in which the double-stops necessitate the use of the higher positions. The appear ance of such a passage as Ex. 15 in a movement entitled "fantasia** shows the insertion of the variation technique of the repeated dance strain into a more serious artistic medium, and is valuable evidence of the influence of the variation form of the dance suite upon the evolution of the sonata. The treatment of accompanying chordal instruments, suclr as the organ, theorbo and harp, in Lawes* instrumental collections falls into three types: (1) as an unfigured thorough-bass, (2) as a reduction of the instrumental score, and (3) as an independent and integral part of the music itself. The first type will be remembered from its use in the Royall Consort, where an unfigured bass line serves as the thorough-bass for two theorboes and as a basso seguente for the bass viol as well. Related to this is the treatment of the harp part in the lesser dances of the * * Harpe* * Consorts, in which only the unfigured bass and a treble are present for the harpist to use as the basis for filling in the harmony. The last was a customary practice of the middle baroque. The second type of ac companiment noted is that which has been discussed in the 179 chapter dealing with the five- and six-part fantasias and aires, which is largely a reduction of the other parts of the score. In fashioning these organ parts Lawes included the entrance points of the most important counterpoints and as much else as could be conveniently accommodated by two hands. The third type of keyboard part, in which the accompanying chordal instrument is an equal partner with the other instruments, is a distinctive feature only of the violin sonatas and the large "Pavens" of the "Harpe" Consorts. The degree of independence of these organ parts particularly excites our attention. There is, indeed, little resemblance between the keyboard accompaniments of the sonatas and the continue or thorough-bass practices of the period. As a matter of fact, the organ parts of Lawes’ violin sonatas are closer by far to the role of the keyboard in sonatas of the eighteenth and nineteenth centuries than they are to that of their own date.^ This can be seen from the numerous ^The remark by Peter Evans in his article "Seven teenth-Century Chamber Music Manuscripts at Durham", Music and Letters, Vol. 36, No. 3 (July 1955), that William Lawes’ ^Fantazyas", in effect, do not contain new material in the keyboard parts, is probably based on the writer's familiarity with the five- and six-part fantasias and aires only. Evans, probably, was not fully aware of the existence of the chamber sonata and its line of develop ment when he wrote his article, although he came close to it in his examination of the Durham manuscripts. See also, Cecily Arnold, "Early 17th Century Keyboard Parts", Music and Letters, Vol. 33, No. 2 (April 1952), pp. 151-3. 180 ways In which Lawes employs his keyboard accompaniment: as a solo introduction before the entrance of the other instruments, as an equal partner in concertante passages, as tacet during a solo passage by other instruments, for its own solo interludes, in adding additional countrapuntal parts of its own such as new points of imitation or "re torts" in fugato sections, for duets with the other parts, sustaining and filling in harmonies, accompanying another solo part or being accompanied by the other instruments as a solo part itself. At times the organ also serves as a reduction of the other parts, but never consistently or for long periods of time. In none of his instrumental works does the composer employ the division technique for the keyboard, as if tacitly acknowledging the supremacy of the virginalists in that medium. For modem performance these organ parts pose a problem. The sustaining character of that instrument was recognized by Lawes, and the music is therefore fashioned expressly for the particular qualities of the organ. Thus, the keyboard parts are sometimes sparse in texture and em ploy long sustained notes without complementary motion in other parts. This is particularly evident in some solo introductions or interludes, which consist of but two real parts. These, while perfectly suitable for the organ, are not successful when transferred to the harpsichord or 181 modem piano. On the other hand it would be equally im possible to attempt these works upon a large modem organ since the latter would be too powerful against the other instruments and foreign to the true character of the music. A good idea of the proper type of organ required for these sonatas may be got from the writings of Thomas Mace. This author, writing in 1676, describes a table organ which he claims to have invented for the purpose of performing chamber music in consort, and furnishes an illustration of it.l The instrument is three feet and one inch high, seven feet and five inches long and four feet and three inches wide. The keyboard is at the width end of the table and the bellows are operated either by the feet or by a cord at the far end. The surface of the table is entirely smooth and polished, and cut into it are eight music racks or leaves which lift up at an angle to hold the music. These also serve to control the volume of tone, so that the greater the number of instruments participating in the consort the louder the organ would sound. The performers sat around the table, as was customary in the performance of early chamber music as well as in madrigals— a very neat arrangement. It is doubtful, however, that table organs of this type were known to Lawes* generation. More likely a small chamber organ of the upright positive kind. ]L82 containing both flue and reed pipes, was the original in strument for which Lawes wrote. It must have had a range of at least four octaves, similar to the large regal built in 1650 by John Loosemore and now preserved in the castle at Blair Atholl.^ The best modern substitute for this early chamber organ might be a small console, which ad mittedly cannot approach the quality of tone of the origi nal, but may serve at least to represent the particular characteristics of the organ parts in modem performance and still not overpower the other instruments. One of the most outstanding compositions of the two sets of violin sonatas, and one more deserving of the title **sonata" than perhaps any musical work written dur ing the first half of the seventeenth century, is the Sonata No. ^ in D Major for one violin, bass viol and or gan. The complete work is printed in Appendix D. It is a fine example of the composer’s writing for violin and bass viol, as well as his independent treatment of the key board. We note the ten-bar organ introduction, which com mences the beginning fugal exposition, and we note also the organ-like character of the theme, which is so sparsely treated for the keyboard. The theme soon breaks into con certante figuration after the entrance of the violin and ^See a photograph of this instrument in Francis W. Galpin, Old English Instruments of Music (London: Methuen & Co. LtïïTT igW, plate“XLVn7“ 183 bass viol and is even joined in this repartee by the organ itself. All parts, thus far, are completely independent. At bar 35 the keyboard engages in a duet with the bass viol, with both hands adding contrapuntal parts to the three-part writing. Then, at bar 46, the organ accompanies the violin in its rapid figurations. The broken chord work in rapid semiquavers at bar 50 furnishes an example of what Lawes could do in this vein. The "divisions" be come more intense at bar 53 where the three instruments rejoin in concertante division interplay and lead into an interesting section at bar 61. Here, all three instru ments engage in a delicate, interlaced concertante fabric which has all the traits of the old hoketus technique dis cussed in the previous chapter. The "brokenwork" of this section is a remarkably advanced example of concerted chamber music. In its turn it leads into a lively section in fast triple time, one bar of the new section equalling the minim of the old. This new passage is entirely dance like in character and evidences once again the influence of the dance upon the evolving sonata. At bar 103 the tempo reverts to 4/4 and the organ takes over in a new dance-like section with a particularly fine solo for 11 bars. It subsequently recedes to allow the bass viol to enter with figurations. The violin re-enters at bar 118 and performs its own "divisions" while the bass viol drops 184 out completely. Once again all Instruments join at bar 125 in difficult virtuoso elaboration which builds up in tensity as it drives towards the conclusion of the move ment and finally bursts out into a striking theme in the violin part. This is solidly supported by double stops in minims in the bass viol part and in the left hand of the organ. Note in particular the crossing of registers of these stops in "see-saw" fashion and the imitation of the violin theme in the right hand of the organ in bars 141-2. The final theme, moreover, is a definite outgrowth of previous figuration, as may be seen for example in the violin part of bar 128 and in the bass viol part of the second half of bar 136. One is amazed at Lawes’ employment of such an advanced principle in preparing this heroic close for the D major fantasia. An important observation must be made here concern ing the second set of sonatas, those for two violins, bass viol and organ. It concerns the violin writing, which con tains some of the most expressive dissonant contrapuntal lines in all of Lawes’ music. These are characterized by lengthy melodies in piquant interwoven counterpoints be tween the two violins. They also make use of the concer tante style, but are minus any elaborate figurations. In particular, the first and sixth sonatas of this set are worthy of special mention. 185 The "almans" or second movements of the sonatas are in the traditional bipartite form. They are often similar in character to those of the Royall Consort and of approx imately the same length or slightly longer. The workman ship of these "aires", however, appears more mature. The concertante technique is especially well conceived and we note certain subtleties beginning to appear. The keyboard does not revert to the role of a continuo in these move ments, but is used effectively for adding new interest. Many of these charming second movements deserve mention here but unfortunately space does not permit. The galliards, which make up the third movements, and which Lawes calls "aires" in their stylized form, are not to be confused with the nimble and quick galliards of the Elizabethan period.^ The latter will be recognized as the familiar nachtanz of the pavan, which was set in triple metre and wrought from the same thematic material as the pavan itself. Together they were known as the dance pair and paved the way for the dance suite. There is no thematic relationship, however, between the movements of Lawes* sonatas, and his galliards are of a much slower variety. In outward appearance they are similar to the earlier type, being in 3/2 time with a preponderance of ^For the performance of this dance step see Mabel Dolmetsch, Dances of England and France (London: Routledge and Kegan Paul Ltd., 1949), Chapter VI. 186 semibreves and minims. The basic dance step of the gall- iard was the cinq pas, which gave to the music the charac teristic rhythm of the tribrach followed by the trochee, ^ O I O ). Lawes employs this galliard rhy- thm,,i or some modification of it, in all of his last move ments. Thomas Mace describes the stylized galliard as follows; "Galliards, are Lessons of 2 or 3 Strains, but are perform'd in a Slow, and Large Triple-Time; and (com monly) Grave and Sober.Lawes' galliards are all in bi partite form, and, as in the first and second movements, the concertante technique plays a dominant role. Follow ing the last movement, and after a first and second ending, Lawes adds a "close" or coda in 4/4 metre. The length of this coda varies from five to eighteen bars, the majority being ten or twelve bars long. Undoubtedly the function of the coda was to balance the sonata by returning to the original rhythm of the beginning of the fantasia and to a more serious vein. Like the extended cadences of the large fantasias and aires for viols, after which these endings are modelled, the "closes" are reserved for slow dissonant contrapuntal writing. The coda was not new with Lawes but, like almost all of the formal features of the composer's music, was handed down to him by his teacher, Coperario. The letter's codas, however, are considerably 187 shorter and are not at all as convincing as his pupil's. It is interesting to note here that these "closes" are the same type of endings which were later indicated by the markings "slow" or "drag" by Jenkins, Locke and Purcell. The same features of Lawes' contrapuntal style which were found in the extended cadences of the five- and six-part fantasias and aires are in evidence in the codas of the violin sonatas. In particular, the mobility of part writing resulting in augmented and diminished triads or dissonant chords in various inversions is especially pronounced. The augmented triad is the most frequent of the dissonant combinations and may be found in a majority 1 of the codas in some form. One new and significant ele ment which the composer introduces into some of the end ings is the dominant seventh. The coda of the G major sonata is a fine illustration of Lawes' endings, for in it several of the composer's favourite progressions may be pointed out. The rare instance of an augmented triad in root position appears almost immediately, in the second bar of the "close". The harmonic rhythm has slowed to that of the semibreve and this sometimes gives rise to veritable clusters, like that in the second half of bar 4. As a result of suspensions the augmented triad in its second inversion appears in bar 8 and following this the intro- Ipor an explanation of Lawes' use of the augmented triad see Chapter II, pp. 95-99. 188 duction of a chromatic line in the bass leads to the fa miliar unprepared augmented triad in first inversion, which in its turn sets off the otherwise traditional four- three suspension cadence. But, not being satisfied with this, nor yet in the position to come to a full close be cause of the key, Lawes prolongs it by taking the deceptive submediant, which in turn acts as a pivotal chord of the subdominant in returning to the original key of G major. He then continues into another consonant fourth, in the midst of which the dominant seventh is introduced, produc ing a second dissonance with the bass. The seventh holds in the penultimate bar as the fourth is resolved and then itself resolves as a true dominant seventh to the final tonic. There naturally arises the temptation to compare Lawes' chamber sonatas with the Twelve Sonatas of Three 1 Parts and the Ten Sonatas of Four Parts by Henry Purcell. The comparison shows how Purcell was endeavouring "a just imitation of the most fam'd Italian Masters", as he him self wrote in the preface to the 1683 set. We know now, and most certainly Purcell knew, that the basis did exist for a characteristically English variety of the trio so nata. Even assuming that Purcell was not familiar with lln The Works of Henry Purcell (London and New York: Novello, Ewer & Co.), Vol. V, ed. by Maitland, Vol. VII, ed. by Stanford, 1893 and 1896. The sonatas were first published in 1683 and 1697. 189 Lawes' muslc--and this assumption seems unlikely--there were the chamber sonatas of Purcell's fellow composer and good friend, Matthew Locke, besides those of other contemporary musicians. But Purcell, by his own testimony and that of his music, deliberately turned his back upon the already established tradition in favour of what he termed "the power of the Italian Notes". He also gives as his reason for composing the violin sonatas in the Italian vein, "pincipally, to bring the seriousness and gravity of that sort of music into vogue". Now, just a cursory ex amination of the sonatas of Coperario, Lawes, Jenkins, Locke and others shows more "seriousness and gravity" than even the overall design of Purcell's sonatas indi cates. Undoubtedly, Purcell was referring to the slight and frivolous dances so much in favour with Charles II, which the latter had grown accustomed to during his exile in France. Hence Purcell's admonition that it was high time "our Country-men . . . should begin to loath the levity and balladry of our neighbours". And yet, instead of seeking out and continuing the already established English tradition, which his genius could have greatly en hanced, Purcell sought further afield, finding his own model in the works of the Italians. Thus, he adopted Italian nomenclature, even to the substitution of the fan tasia (now respectably English) by a canzona, and he im- 190 bued his works with the very spirit of the Italian art. While in his formal scheme and outward appearances Purcell capitulated to his weakness for "the Italian Notes", in his contrapuntal and harmonic practices at least he remains essentially English. How much he was influenced by de velopments in the English chamber sonata during the seven teenth century will not be determined until a comparative study of several seventeenth-century sonata composers is attempted. Likewise, until the entire chapter dealing with the growth of the chamber sonata in England is written it will be impossible to determine the exact stature or importance of Lawes' sixteen sonatas. We may well suspect, however, and with good reason, that they deserve an impor tant niche in the history of early instrumental music. Certainly, their worth as performance repertory for the present is considerable. They will without doubt be wel comed by chamber music lovers and players everywhere when finally published. CHAPTER VI LYRA VIOL AND BASS VIOL SUITES Notwithstanding the increasing popularity of the violin, the bass viol da gamba remained the leading solo instrument of the early Baroque, In his Introduction to the Skill of Music, Playford described three different sizes of these bass viols and as many styles of writing; There are three sorts of Bass-Viols, as there are three manner of ways in playing. First, a Bass-Viol for Consort must be one of the largest size, and the strings proportionable. Secondly, a Bass-Viol for Divisions must be of a less size, and the strings according. Thirdly, a Bass-Viol to play Lyra-Way, that is by Tableture, must be somewhat less than the two former, and strung proportionably.1 The most common of the three types mentioned by Playford was the first, which was also known as the "consort bass". Its place was in the consort or full chamber group for the performance of fancies and ayres in parts. There, its large size was a decided advantage, providing depth for the group as a whole and adding a quiet richness to the music. Such an instrument would have been used in the performance of Lawes* five- and six-part fantasias and aires. While the music written for the consort bass some- 1(1672 ed.), p. 93. 191 192 times attained a degree of virtuosity, it was for the most part restricted to moderate technical demands upon the performer and seldom exploited the higher registers or positions of the instrument. Thus, it was mainly con fined to fugal imitations and low bass counterpoints, for which, of course, it was particularly well suited. The "division" bass viol, on the other hand, was used for a special type of solo or limited consort work. This instrument is best described by Christopher Simpson:^ I would have a Division-Viol to be something a shorter size than a Consort-Basse, that so the Hand may better command it; more or less short, according to the reach of his Fingers who is to use it: but the ordinary size, such as may carry a String of thirty Inches from the Bridge (duely place) to the Nutt. The Sound, quick and sprightly, like a Violin; and Viols of that shape (the Bellyes being diggedbut of the Planck) do commonly render such a Sound. It must be accomodated with six strings; and seven Frets, like those of a Lute, but something thicker. The Strings, a little bigger than those of a Lyra-Viol, which must be laid at the like nearness to the Fingerboard, for ease and convenience of Stopping. The Bridge, as round as that of a Consort-Basse, that so each several String may be hit with a boldertouch of the Bow. The Plate or Finger-board, exactly smooth, and even. Its Length, full two parts of three from the Nutt to the Bridge. It must also be of a proportionate roundness to the Bridge, so that each String may lie at an equal nearness to it. The "division** bass was especially popular for the perfor mance of dance suites, in which, as we have already noted, there were usually several sets of variations upon the dance strains. These were sometimes written out by the 193 composer, but more often performed ^ tempore. After the middle of the seventeenth century the stylized dance was largely superseded by specially composed bass themes or ’ ’grounds" which served as the basis for the "divisions". In Lawes* music the "division" viol would have been used for the Royall Consort, the "Harpe" Consorts, the Violin Sonatas and the Bass Viol Suites, in fact, for practically all of the composer’s instrumental music, excluding the five- and six-part fantasias and aires and the Lyra Viol Suites. Because of its smaller size and the thinner strings, which lay close to the fingerboard, the "division viol was better suited than the consort bass for quick divisions and virtuoso passages in the higher reaches of the instrument. Since it was often paired in consort di vision with the violin it had to compete with it, and therefore, as Simpson observes, "division" viols were often made in the shape of large violins or violoncellos in order to obtain a livelier tone.^ The third member of the bass viol group, the lyra viol, was perhaps the most demanding in technical skill. Its special sphere was the performance of polyphonic music in "full stops" or chords, employing two or more strings at the same time. It is distinguished not only by its ^In the beginning of The Division-Violist Simpson gives an engraving of this type of ’ ’division" viol besides one of the standard variety, and he states that the former is better for "divisions". 194 smaller size, which is about midway between that of a con sort bass and a tenor viol, but also by the fact that it did not play from ordinary musical notation, resorting in stead to the musical tablature of the lute family for greater ease in performance. Like the "division" viol, for which it often substituted, it too found its literature in the dance suite of the period. The classic account of the lyra viol is given by Thomas Mace in his oft-quoted provisions for a complete "chest" of viols. After enumer ating the instruments which make up the usual viol consort, Mace calls for the addition of violins and theorboes, and then adds :^ And now to make your store more Amply-Compleat; add to all these 3 Full-Sciz* d Lyro-Viols there being most Admirable Things made, by our Very Best Masters, for T^at Sort of Misick both Consort-wise, and FeciHiarLy for 2 and 3 T,yroes. Let them be Lusty, Smart-speaking viols; because, that in Consort, they often Retort against the Treble; Imitating,and often Standing instead of that Part, viz. a Second Treble. They will serve likewise for Division-vioIs very Properly. In order to facilitate the playing of double stops and chords the strings of the lyra viol were made thinner than either those of the consort bass or the "division" viol, and like the latter, they lay closer to the fingerboard for ease in fingering. At the same time the bridge and fingerboard were somewhat flatter so that the bow might play on more than one string without too much pressure. 1 Thomas Mace, Musick's Monument (London: P. Rat cliff e Thompson, 1676), p. 246. 195 Mace's reference to the fact that the lyra viol often took the part of a second treble clearly indicates the impor tance of the highest string and the use of the high po sitions thereon. Nevertheless, the lyra viol employed all compasses, rapidly changing from the lowest notes on the bottom string to its extreme high register. In fact, the sudden shift of registers is a characteristic of lyra viol consorts, brought about by the fact that the instruments frequently trade parts, or as Christopher Simpson put it, "the Parts do frequently mix and pass through one another".^ Thus, in the course of a single piece of music, or even a single melody, several abrupt permutations may occur per mitting each part to shift suddenly and successively from treble to alto to tenor or to bass in any of a number of groupings. Whatever the part of the moment, the instrument was treated as such. Just as at the beginning of the seventeenth century the lute experimented with new tunings to facilitate the playing of chords and technical passages and to explore new possibilities for added string colours and harmonies, so did the bass viol. According to Playford, it was be cause of the several tunings or scordatura that the lyra o was so named: ^Christopher Simpson, A Compendium of Practical Mu- slgk (London; William Godbid, 166/ ed.), p. TTT7 2John Playford, Musicks Recreation on the Lyra Viol (London:: J. Playford, 1669 ed.), preface._________________ 196 The Lero or Lyra-Viol, Is so called from the Latin word Lyra, which signifies a Harp, alluding to the various Tuning, under the name ofHarp-way, etc. This way of playing on the Viol, is but of late invention, in imi tation of the o l d English Lute or Bandora, whose Les sons were prickt down by certain Letters of the Alpha bet, upon six Lines or Rules; which six Lines did allude to the six course of strings upon those instru ments, as they do now unto the Six single Strings upon the Viol. As Playford*s account would seem to suggest, it was pro* bably because of the various tunings as well as to facili tate the fingering of full stops that tablature was found more practical than regular notation. So that an unfa miliar tuning of the strings would not interfere with the technical execution of the music the performer was merely presented with a graphic picture of the finger positions and rhythm. Consequently, whatever emanated from the in strument was apparently just as much a surprise to the performer as it was to the listener, unless the violist was well acquainted with the tuning at hand. Many of these lyra viol tunings were popular during the Caroline period and later. Besides the old tunings, howèver, four seem to have been most common. They are given by Playford as "Harp-way sharp", "Harp-way flat", "High Harp-way sharp", and "High Harp-way flat". The tunings appear to have been planned especially to facilitate the employment of chords and double stops in the different keys, and may be seen among the examples on pp. 197 and 198. In his Lyra-Viol Suites Lawes uses the tuning "Eights", a tuning made 197 Com m on Viol and L u te Tunings (1600 - 1650) C o n so rt Viols (old tu n in g s) - & ■ Treble Viol Alto Viol Tenor Viol xr B ass Viol Lyra V io ls (new tu n in g s ) H arp-w ay S harp H arp-w ay F lat 12. High H arp-w ay Sharp High Harp-way Flat (Playford) *T he Viol one w as tu n e d one octave lower than the Bass Viol 198 L u te s Old Tuning (vieil accord) i T h eo rb o D iapasons a / a //a ///a 4 5 6 The "F lat Tunc" jjL - (Thomas M ace):W i-^ ^ a /a //a ///a 4 5 The "Sharp Tune" a /a //a ///a 4 5 Lawes' tuning a /a //a ///a ////a 5 The "New Tuning" (accord nouveau) or a /a //a // /a 4 5 C ith ren The Lute tu n in g s are based upon th e tuning of the d iap aso n s trin g s w hich are given in o rd in ary n o ta tio n by Thom as Mace, The firs t s trin g of the th e o rb o w as o ften lowered an octave. 199 popular by his teacher, Giovanni Coperario. In the English tablature of the period the "staff" consisted of six lines, which, as Playford informs us, represented the six strings of the viol mth the highest string on top. Instead of musical notes denoting pitch, however, letters of the alphabet were used to indicate the fingering, or rather, that particular point on the fingerboard was fretted, each fret had a letter name. The open string was the letter a and the following frets pro gressed on up the alphabet, A useful table for translating this tablature into ordinary notation, given the tuning of the open strings, may be made by considering each letter or fret as a musical interval which is determined from the open string as follows (N.B. The frets were spaced at intervals of half steps and the letters of the frets were the same for each string): a the open string tuning. Fret b minor second above the open string. Fret c major second above the open string. Fret d minor third above the open string. Fret e major third above the open string. Fret f perfect fourth above the open string. Fret g augmented fourth (diminished fifth) above the open string Fret h perfect fifth above the open string. (etc.) (etc.) 200 The letter j_ was omitted from the tablature alphabet and 2 was sometimes substituted for as in lute tablature. The tablature staff was divided into bars by bar lines in the same manner as ordinary notation and the rhythm was placed above the staff in the form of musical notes de noting rhythm only. A time value, once placed above a letter on the staff, remained in effect for all following letters until a new rhythmic symbol was necessary. A time value with no letter on the staff below denoted a pause for that amount of time. For the performance of double stops and chords the letters were written vertically or under one another on the staff and a line under two or more letters could mean either a slur or a tie. (See Ex. 16, pp. 201-2, for an example of Lawes' tablature and its solution.) In the preface to Musick's Recreation on The Viol, Lyra-way (1669 ed.), John Playford paid tribute to William Lawes as one of the "famous masters" whose "inventions and Skill:" had helped to develop and to perfect the lyra viol notation and manner of performance. Exactly how Lawes contributed to this development is difficult to determine at this late date, but it is certain at least that in the field of lyra viol composition, as in practically all others of the period, the composer was intensely prolific. Significantly, Lawes' lyra viol pieces in Playford's pub- Ex, 16 201 Lyra Viol S u ite No. 2 in D m inor " f fa n ta s le : se c o n d " for 3 Lyra Viols Lyra Viol Lyra Viol ^ Lyra Viol 3. ll*r ^ /j. ( k = ^ r - r — -----z A — r r r j ^ Lyra Viol 1 . Lyra Viol 2. Lyra Viol 3. J . J a c a — g k : - - - - - j X2. ■ l O • ” fl I* J i ■f J r llM r y R r '57 - j J 1 o o o “ ' o o J J 6 ^ l - : J , h f ^ L ..jf— a. . j j _ C | _____ J J j j 202 ? h - g - - - - - - - - I M \k j L e - r î - t f \ - — 3 -------- O r j rT - - - -i j r = | r= l O J - J J J ----- df—a— c L f--- J J J ' — : V f C : = i; 1 _ : d - 3 . J J - > h - - - - - ^ a^ £ . d X : - ^ r d . . L b d. Ex. 17 Lyra Viol Suite No. 2 in D m inor ffan tasie : second" (excerpt) 33C Lyra Viol Lyra Viol o Lyra Viol JO. mà 203 lication are not at all representative of his major works for the instrument. Playford*s book is a hodge-podge of transcriptions for the lyra viol of popular ballads, dances and common tunes of the period, made easy, as the publisher himself owns, for "young Practitioners". Consequently, although William Lawes is represented by ten pieces (1661 ed.), none of these is characteristic of the composer's true lyra viol style. One is merely a transcription of the song, "Gather Y® Rosebuds"; another, No. 71, is a transcription of a piece in the Court-Ayres of 1655 in which little if any adaptation for the lyra viol is pre sent. The rest are short dance tunes, not unattractive, but not at all typical of Lawes' mature lyra viol works in manuscript. Likewise, the music by Lawes in Playford's Musick's Delight on the Cithren (1666) consists simply of popular and easy transcriptions of the composer's best known songs. They were not written expressly for the cittern. It is, in fact, doubtful that Lawes ever wrote music for that instrument. The cittern, however, was popular in England throughout the sixteenth and seventeenth centuries. Its literature was the common tunes, dances and ballads of the people. With but four pairs or "courses' of wire strings it was simple to play and could be found hanging on the wall of many a London barber shop for the amusement of patrons. The instrument had an odd tuning 204 which is included among those on pp. 197-8. William Lawes' lyra music falls rather into the category mentioned by Thomas Mace, i.e. "Peculiarly for 2 and 3 Lyroes". Indeed, a complete volume of these lar ger works for the lyra viol is still extant in autograph.^ However, a good indication of the contents of this auto graph volume is furnished by a manuscript now in the li brary of Christ Church in Oxford. This manuscript. Ch. Ch. 725-7, contains three suites for "3 Lero Vyalls"; the first, a "Fantazia" and "Serabrand"; the second, a "ffan tasie" and "Almaine"; and the third, a "Pavin” and an un named piece which appears to be an alman. These "setts" are among the very best of Lawes' production, and in them one may catch an excellent view of true lyra viol writing: the frequent employment of double stops and chords, the use of the extreme high register, and the sudden shifting of parts between the instruments resulting in wide skips from one compass to another. The most interesting of these pieces is the second "ffantasie", which opens with a slow fugal section in the traditional manner (see pp. 201-2). Note here the employ ment of double stops and chords in which Lawes' dissonance technique figures prominently. The tablature is given above, inasmuch as it is not one of the common lyra viol ^Unfortunately, this manuscript is not yet available for study.___________________________________________________ 205 tunings described by Playford but a tuning which Lawes calls "Eights". (For its solution see pp. 197^8.) Anothei characteristic technique to be observed here is the use of unisons in double stops. Whenever open strings are indicated in the tablature they are almost always doubled in the unison by a stopped finger on an adjacent string. By this it may be seen how the violist endeavoured to a- chieve the utmost in resonance and power from his instru ment. As the D minor fantasia progresses, contrasting fugato sections are introduced and beautifully contrived counterpoints weave a closely knit texture spanning the complete range of the instruments. This fantasia, in its formal scheme, is similar to the Violin Sonata No. 8 in D Major for one violin, bass viol and organ. It has three large sections in contrasting tempi and key signatures which are marked off by double bars. The middle section is in 3/4 and begins after an interesting half-cadence in D minor (see p. 202). The cadence is distinguished by an unusual polytonal combination in the penultimate measure of the first section, where a full G minor chord is sus pended over the bar line while the pivotal chord of A majoi is introduced against it for the space of a minim leading into the second section in D major. Iti contrast to the opening fugato section the centre one is semi-homophonie. The tempo is fairly rapid and to all intents and purposes 206 it is simply a stylized corant strain. Once more the in trusion of dance rhythms upon the fantasia is evident. Aththe head of the composer’s volume of autograph songs in the British Museum, Add. 31432, there are three pieces, apparently for one lyra viol, in the tuning of "harp-way sharp". Two are sarabands and the other, a cor ant. These are simple dance tune and of no great signifi cance. The first saraband, however, does contain a set of "divisions", and thus substantiates the statement by Thomas Mace that the lyra viol might also substitute for a division viol. There are four additional pieces in tablature for lyra viols in manuscript in the Bodleian Library in Oxford, but these again are short dance tunes and warrant no fur ther discussion. In Lawes’ autograph score in the Bodleian Library, Mus. Sch. B.2, are three pieces in tablature for two lutes. They consist of an alman and two corants and are the only pieces for the lute by William Lawes that the author has been able to locate. And yet, these works suggest a mature technique of lute composition. The tuning of the strings is not specified by Lawes but the process of decoding the tablature has resulted in the accordatura shown on p. 198. This tuning is interesting, since it is neither the "sharp tune" nor the "flat tune", both of which were most common ly employed during this period. Lawes’ tuning is in fact 207 a compromise between the two last. Its possibilities are evident in the seventh chord produced by the four highest strings, which Lawes uses to good advantage. These lute pieces are quite attractive and rather delicate, especially the first, entitled "Alman". The opening of this work to gether with its tablature is given overleaf. In view of the maturity of technique and expression one wonders if this was the sum total of Lawes’ writings for the lute. Is it possible that more of Lawes’ music for lutes is still extantT Or could there possible have been another autograph volume containing the composer’s lute works, just as there is one for the lyra viol suites? The Suites for Two Bass Viols and Organ William Lawes’ debt to Coperario for the instrumen tal forms in which he wrote, is evident once again in the three suites for two "division" basses and organ.^ These bear a close resemblance to the large "Harpe" Consorts discussed in Chapter IV. Like the latter, their keyboard parts are fully written out and largely independent, and all of the pieces include "divisions" of the most complex ^Two of Coperario’s pieces for two bass viols and organ are printed in Musica Britannica (London: Stainer and Bell Ltd.), Vol. IX, 1955, edited by Thurston Dart and William Coates. They are Nos. 100 and 101. Although en titled "Fantasia", the second of these is in reality a pavan. See this piece discussed in Chapter IV. pp. 156 and 158. 208 Ex. 18 F irst m ov't,"A lm an" (beginning ex cerp t) from ttie Suite for Two Lutes 1st L ute 2nd Lute 1st Lute 2nd L ute J I J J I J ) 209 # # fj ---g— (LNp t — - 1 n Lj-qj-i r-— pl_J =- j-i- # 1 ---- a --J - ---_gL- P f \ l L z -—8 ----------J nJ) jlJ) ) J ) J 210 sort. In these Lawes reaches towards the very summit of viol virtuosity. Indeed, they are the most technically demanding of all of Lawes* music. The formal arrangement is the same as the "Harpe' * Consorts, in that the first movement is in pavan form. However, in the ordering of movements there is no definite sequence as in either the suites of the "Harpe" Consorts, or those of the Violin Sonatas. The use of the pavan form instead of the fan tasia may be explained by the fact that the former offered a greater opportunity for the composition of "divisions", and, as has already been shown, the pavan was often sub stituted for a fantasia at the beginning of a chamber suite, especially when variations were intended.^ The order of the suites is as follows: Suite No. 1 in G Minor, consisting of a pavan and two aires; Suite No. 2 in C Major, a large pavan with but a single aire; and Suite No. 3 in C Major which appears to be incomplete, in asmuch as there are only two short aires, the first of which is minus a complete organ part. All of these pieces, together with their "divisions", are in Lawes* hand in the Bodleian autograph score. Mus. Sch. B.2. They are also in autograph in the Bodleian part-books. Mus. Sch. D. 238- 40, and in the organ book. Mus. Sch. D. 229. Suite No. 1 seems to have been fairly popular, since it has survived in See the quote by Roger North in Chapter V, p. 162. 211 several manuscripts in addition to the autographs, and in various arrangements as well. Interestingly enough it was rearranged in two of the most important manuscript sources (though not in the autograph) of the Royall Consort and was actually included in those manuscripts as one of the collection. The latter arrangements, however, do not in clude the "divisions" #iich are to be found only in the autograph. Opposite is the beginning excerpt of the origi nal version of this pavan. The final aire of this suite seems to have been especially well known and is, in fact, a charming example of the instrumental stylization of a dance. The middle movement was equally popular and was included by John Play ford as No. 17 in the Court-Ayres of 1655. In that publi cation, however, there are only a treble and a bass, which are but the outside parts of the original organ score. Here once again we observe that what appear in Playford*s collections as simple dance tunes "of two parts. Treble and Basse, for Viols or Violins", are in reality mere skeletons of the composer's larger works which the pub lisher does not mention. The title of the second suite is given by Lawes as follows: "Paven and Alman of Alfonso--sett to the Organ and 2 Division Base Viols by W. L." "Alfonso" is none other than Alfonso Ferrabosco junior, who was affectionate- Ex. 19 212 First mov't, "Paven;* (beg in n in g excerpt) from the Suite No.1 in G m inor for two B ass Viols and Organ 1 st. B ass Viol 4> 2nd B ass Viol Organ m T up ir ! w rr ly known by his Christian name in manuscripts and publi cations of the period. As in the large pavans of the ' ^ Harpe^ ' Consorts, where Lawes uses bass themes by Giovanni Coperario and ’’Cormacke" so here too Ferrabosco's bass line supports an elaborate set of variations for the viols. If the fact that Lawes employed a bass theme by "Master Alfonso" is a sign that the two were good friends, it is difficult to say. There is as yet no definite proof to that effect. However, it does seem probably that Lawes should have known and even worked with Ferrabosco before the latter died, in 1627. Lawes* music shows the older master's influence to a marked degree, even as it does that of his teacher, Coperario. Furthermore, since all three were active in or about court circles at the same time, they could hardly have been unknown to one another. The formal scheme of the "division" viol suites adheres almost identically to the instructions set forth by Christopher Simpson in his Division¥Violist. The full text of these is given in Appendix A, paragraphs 15 and 16. Likewise, it should be noted that the "division" types, i.e. "breakinge base", "descant", "mixt", "skipping di vision", "running division", "tripla", etc., are the same as those in the "Harpe" Consorts, as are the "ordering" of these types in the repeated strains discussed in Chaptei IV. The chief difference between the two collections is Ex. 20 214 1st Bass Viol 2nd B ass Viol Organ First m ov't.,"Paven" from Suite No. 1 in G m inor for two B ass Viols and Organ (repeat of 2nd strain with variations) I ? ■ ■ f m ~Tf»r ' "iTl ,■ 1 » 1 lif i*r- rf'f^i'i - E T L j j — - -- ,,| 4 - L£_jL— ' U rt--------J-— n — J ** .. r ---------- — «r -= 215 - - - - * — * — -**- - - - - - - - - - p - - - - # - - - - # - - - /-zfe- , . L z ^ m r è . : J 1 J . . . - - : f a y . i l . ^— j — ( f J- - - J - - - - - “ r — — l / - l > jg- * , - . ■_ , L o g i r r .It»-— J i - » i « f r r ^ » » » » ^ . r i f f > H r T f t h # f ~ r r r A # # |: - y y l j 3 l | J ^ ^ ^ - « r - — r ^ " i * f ■■ ' * > : J » t t 8 - - - - - - - - 1 - - - - - - - - - Tsr 4 | - ^ - - — . 1»:: . - hm d / i ? Y 1 _L^- - - - - - - - - r - • r f f - - - - - - « a - - = - • ^ — r i ^ T — [ T r Î- - m-. J T JLJ- - - - - - - - L Œ 3 - J . O J 5 - W : *— ~^ - - - - - - ^ - - = - z' \? \ .... O - - i J J m m i m t e 217 j » | # ' = j = ^ r —Tf^ » f r f f 1 r r ^ _ = = # - ■ =1 m B ^ . ■ ' « A - i s = f 4= B J -= 4 -. m --# - ---^ • * * = j = — -F a i - - - ' ' m n R i V . F U - =f J - J - 1P 1 I J 1 J ~ T - U n - g > : F U 4#- ± M L » - , —z —' P\ l - M - l J ^ 1 - l a f f T' ^ ^ - .?" - 1 — 1 —i - n 1 - , : ■ - . —■ - 1 =* — — 4 I F - * r j - f \ " T 3 - 4 i--.. -. _r]_ \ I Z J 2— 1# --L --r H# e - î f ü 4 # . =ü J L a ^ 1 4 j - d i =W pÆ . Ê ( - ; P d . » ~ ■ U h i t ijzm " 1 J - 1 t= ^ ~ I C T I - r =W 218 in the addition of the violin in the * * Harpe" Consorts, where it is concerned primarily with "descant", and not with "breaking the ground", nor with "breaking" the treble pavan melody of the harp part. Here all figuration upon the bass line was reserved for the bass viol since the bass was its "proper sphere". In the Bass Viol Suites, however, one of the two "division" viols is often active in descanting to the bass, especially in the unvaried strains, while the other viol "breaks" the "ground" for it.i The "divisions" of the Bass Viol Suites are tech nically more difficult to perform than those of the "Harpe" Consorts. For the first time in Lawes* music the full compass up to d** is exploited, and in rapid passages of semiquavers and even demisemiquavers. (This note d** , fourth line on the treble staff, is at the half-way mark between the bridge and the nut of the fingerboard. An additional fret was often tied at this point.) The com plexity of this technique may be observed in the excerpt from the "Paven" of the first suite on pages 214-17. The "division" suites will be welcomed by modern cellists as well as bass violists and gamba players since the music is easily adaptable for the violoncello and will, ^This is the same technique which Lawes used for the two bass viols in the Royal1 Consort. See the quote by Christopher Simpson in Chapter III, p. Ill and 113. 219 moreover, present a challenging addition to the literature Miscellaneous Instrumental Pieces In the course of the present work William Lawes* instrumental music has been presented exclusively under the headings of the original collections for which the music was intended. There are, however, well over two hundred additional instrumental pieces by the composer, mostly in dance forms, in various manuscripts and early publications of the period. Almost half of these are in complete fragments. In addition, in the Bodleian Library, the library of Christ Church and in the British Museum, as well as smaller libraries, there are scores of manu scripts which contain hundreds of anonymous pieces. Many of these have been identified by the present author, in comparing manuscripts and autographs, as compositions by Lawes, though undoubtedly many anonymous pieces which I have not been able to identify are also by him. One of the most popular instrumentations used in these miscellaneous dance pieces is that for two trebles and a bass. Sometimes the treble parts are indicated for violins and at others the instruments are not mentioned at all. Apparently, either treble viols or violins could be employed. This is of course the instrumentation of the Baroque trio sonata— equally popular in England as in 220 Italy--which we have already seen employed in an arrange ment of the Royal1 Consort, as well as in the Violin So natas. Twenty-one of Lawes* dances in this form are con tained in the British Museum Add. MS. 31429.^ Others are to be found in Add. 18940-44, Add. 31423 and in the library of St. Michael*s College in Tenbury, MS. 302. Several other pieces, in the original four-part version of the Royal1 Consort, but not actually a part of the latter collection, are also extant. Many of these have already been discussed in Chapter III as possibly be longing to the Royall Consort before it was rearranged. Twenty-three incomplete pieces, containing second treble and tenor parts only, are in the Bodleian, Mus. Sch. F. 568-9, and six pieces in the same arrangement, but com plete, are in Mus. Sch. E.431-6. In the latter set of manuscripts are similar pieces also by John Jenkins, Charles Coleman, Christopher Simpson, Benjamin Rogers and others. The largest group of miscellaneous pieces are the familiar two-part, treble and bass dance arrangements, many of which were published by Playford in his simplified The statement by Rupert Erlebach, *'William Lawes and His String Music", Proceedings of the Musical Associ ation, 59th session, 1932-3V p. ill, that only twoof these pieces are by Lawes must be set aside in the light of the positive identification of most of the pieces with the same music attributed to the composer in other manu scripts. 221 collections, especially in the Court-Ayres of 1655 and the Courtly Masquing Ayres of 1662. A large part of these, however, are not new but merely simplified transcriptions of Lawes* major works: several are from the composer*s court masques or instrumental arrangements of his ballad songs. In all, about four score of these were printed by Playford. The bass part only to forty-six additional pieces, which were apparently in two parts, is also extant in the Bodleian, Mus. Sch. D.220, and twelve more bass parts are in both Mus. Sch. E.451 and D.233-6. The latter also contains copies of pieces from the Royall Consort and twenty-five two-part pieces, most of which are dupli cates of dance tunes in the above publications. The few remaining pieces are mostly keyboard arrani mants of dance tunes which were originally intended for viols and violins. Eight of these are contained in Play ford* s Musick* s Hand-maide, Presenting New and Pleasant Lessons For The Virginals or Harpsycon, 1663. Included is m m m m m m Ê m tm m m m m m m m m m m m m m mmmmm mmm m' wt mmm mmm mm m rnm m am im m m iAtl mm m m mm m m mm m tm mm m m mmm mrnm m m m m Ê m m m Ê Ê m tâ tm m m m m M m m m m im m m m m the very popular suite entitled Golden Grove which may also be found in Oxford, Christ Church, MSS. 1236 and 1003. Finally, in a manuscript now in the Paris Conservatory, Res. 1185, is another charming suite arranged for keyboard and containing a set of variations. CHAPTER VII THE SONGS It is certainly in the field of chamber music that William Lawes has made his greatest contribution. Yet, he is chiefly remembered for his delightful setting of Robert Herrick*s "Gather Y® Rosebuds While Y® May". It was, in fact, as a musician in ordinary * ’ffor y® lutes and voices’* that Lawes received his court appointment in 1635. His vocal output was second only to that of his brother, Henry, who was six years William*s senior and outlived him by seventeen years. William*s songs, dialogues, catches and glees were a favourite of the many Playford publi cations which appeared after the middle of the century. They were known and beloved by the great diarist, Samuel Pepys, and were accorded a prominent place in song books as late as 1678, when Henry Purcell was almost a lad of twenty.^ Like Henry Lawes too, William worked in close association with the foremost poets and wits of the age: Robert Herrick, Thomas Carew, James Shirley, William Dave- nant and the rest, many of whom continued to celebrate his obsequies long after his demise. This extended popu- ^Sixteen of William Lawes* songs were included in the New Ayres and Dialogues, edited by John Banister and Thomas LowH^EonHonl MC for H. Brome, 1678). Samuel Pepys refers to Lawes* songs and psalms several times in his Diary (see Chapter I, p. 58 ). 222 ^ ________________ 223 larity in the face of musical developments which occured after his death accords to William Lawes an important po sition in the vocal music of the century. The bulk of Lawes * songs has never been published. The chief source for these is his vocal autograph in the ; British Museum, Add. 31432, which is from the same set of autograph volumes as those in the Bodleian Library in Oxford.1 The famous John Gamble Commonplace Book and the Drexel manuscript 4041, both in the New York Public Library, are the other major sources. If we add to these the auto graph of John Wilson's songs in the Bodleian Library, the Beaconsfield autograph of Henry Lawes* works and the British Museum, Add. 11608, we have all of the important manuscript sources for Caroline song. It is from these and the many English song books published by Playford and others after the middle of the century that a composite picture of the various forms, styles and chracteristics of vocal music composed during the reign of Charles I may be formed. Caroline song was dominated by an intellectual creation, the declamatory style, or, as it was called in contemporary musical and literary circles, "recitative musick". It would be a mistake, however, to overemphasize Isee the discussion of Lawes* autographs in Chapter I, pp. 44-50. 224 the mass popularity or appeal of the declamatory song, even in its hey-day. It was an exclusive art form designed for a small coterie of intellectual nobility, poets, wits, musicians and artists who adorned the sophisticated cham bers of the Court. Indeed, several distinct types of song were equally, or even more popular with the middle and upper classes of English society. A gentleman had occasion to sing the bawdiest of catches, glees or drinking songs at his favourite ale-house, or to hum a composed "ballad" while at work, to sing part-songs and psalms with his family as well as to listen to the performance of "dia logues" and solo "recitative musick". Madrigals too were still beloved and rounds, canons and religious songs were always in fashion. All of these made up the vocal music of the period and were the stock-in-trade of every composer. The declamatory and other forms of English song were the result of several forces at work during the first decades of the century. They were not, as Milton states, the invention of one man, Henry Lawes.^ William Lawes, John Wilson, Simon Ives, Charles Coleman, John Gamble and many others were setting verse in precisely the same manner lln his commendatory verse "To my Friend Mr. Henry Lawes", in the Choice Psalmes of 1648, by William and Henry Lawes (London: Printed by James Young for Humphrey Moseley). 225 at precisely the same time.^ All were subject to new styles emanating from the humanistic revivals in France and Italy, to the great heritage bequeathed by the English madrigal and lutenist schools, to the changing ideals and dominating position of English poetry in the wake of Will Shakespeare and Ben Jonson, and to the demands of the society in which they lived and worked. The reign of Charles I (1625-49) roughly bridges the gap between the last of the lutenist publications (Johd Attey's Ayres, 1622) and the first printed editions of the declamatory song-writers (Henry Lawes* Select Ayres and Dialogues, 1652). During this time no lute-song litera ture was published in England, despite the fact that poets and musicians were undergoing a period of intense produc tivity. The object of this productivity, however, was not the lutenist **ayre*', but the newer forms— declamatory songs, "ballads", dialogues, catches and glees. Playford*s many song books published after Charles* death are, in fact, a reflection of the fertility of this period, and the declamatory style itself is a product of this age, although it extended well into the Restoration. Since William Lawes* vocal works fall entirely within this period. ISee, for example, the comment by Ernest Walker, A History of Music in England, 3rd ed., revised and edited 'Ey J. A. Westrup (London: Oxford University Press, 1952), p. 162. 226 they are important for any study of Caroline vocal music. As the vogue of the lutenist "ayre" sharply declined at the beginning of the second decade of the seventeenth century, the relationship of music and poetry was under going a radical change. In the madrigal, music had been the most important element; in the lute-song an almost perfect balance between the music and the text was achieved^ and now, in the declamatory song, it was the poetry which dominated the music. This underlying shift in the relative importance of the text reflects the increasing stature of the poet in the artistic circles of the time. It repre sents as well a fundamental difference between the cir cumstances of song composition in the Renaissance and in the Baroque. Lutenist, as well as madrigal, composers largely composed their own lyrics. Indeed, many were known as musical-poets and the lyric itself had always been considered the natural province of the musician. Lyrics were intended to be sung.^ But with the increased interest on the part of literary men in Classical and Roman lyric forms during the Baroque, a gradual process of specialization set in. A generation of minor poets and dramatists, who were non-musicians, assiduously cultivated Ipor an interesting account of lyric poetry and its association with music see Bruce Pattison, Music and the Poetry of the English Renaissance (London: Methuen & Co. Ltd.7 1^8) , p. 19 and passim. 227 the now-popular lyric style. Many of these poets were well aware of the need for good musical settings of their works. Even an aristocratic public, apparently, might be influenced by the fact that some reputable musician had thought enough of a particular lyric to set it to music. Consequently, vdien poets published editions of their works they often included the name of the musical composer either under the title of each poem or on the title page of the publication itself, although no music was included.^ Musicians rarely included the names of their poets, either in their manuscripts or in their publications. The close association of musicians and literary men through the conditions of their employment at the great manor houses of the nobility and at Court undoubtedly had much to do with the emergence of the declamatory style. In a new era of Court splendour and hyperculture, with its influences from abroad, both poet and musician sought a new approach which would satisfy the intellectual tastes of their sophisticated patrens. Many of the aristocrats were themselves poets of some skill. Fewer were real mu sicians. The art which they paid for was one which suited their own particular talents. Ever anxious to please his ^See, for example, Richard Lovelace’s Lucasta (Lon don: Thomas Harper, 1649), Edmund Waller’s Poems (London: Humphrey Moseley, 1645) and Milton’s Poems (London: Humphrey Moseley, 1645). 228 patron, the Caroline musician did not hesitate to subject purely musical considerations to the new literary ideals. These same circumstances account for the "horseloads" of "lessons" or short dance tunes of little consequence #iich clutter up the manuscripts of the period. Only in the larger forms of instrumental music could the composer give free reigm to his creative imagination. Only these rise above the demands of the occasion and are certain to out last the superficiality of those sophisticated years. Henry Lawes is himself the perfect example of one who worked almost entirely to satisfy the tastes of Jacobean and Caroline culture. For his efforts he was lauded and eulogized by the foremost poets of the age, and raised to a pre-eminent position in Court circles--but he wrote no serious instrumental music. Just as the madrigal and the lutenist "ayre" could no longer satisfy the sophisticated, intellectual tastes of the aristocracy, so too Elizabethan poetry had to be abandoned as a model for the Caroline poet and as a source for the Caroline musician. With the ascendancy of Herrick, Carew, Devenant, Shirley and a host of others, the lyric came into its own in new forms and with new content. The predominant theme of Caroline poetry was love--love em bellished by allegory and metaphorical reference to Greek and Roman mythology. Pastoral themes were also popular 229 and shepherds and shepherdesses often converse with Charon, Orpheus or Venus in the many dialogues of the period. Literature of the Augustan Age in particular was the great source to which the English men of letters turned for their inspiration. Horace, Ovid and Virgil were avidly studied and copied. Their works were translated anew and paraphrased in simplified forms by such scholars as Cax- ton and Lydgate and widely disseminated in cultural cir cles. But although the Caroline poets used these models for their lyrics, the tone of their writing is not the same. Themes are slight and the poetry takes on a frivo lous character as the myths succumb to courtly sophisti cation and humour. Love, in the person of Cupid (chaper oned by Mother Venus), runs rampant and the proverbial arrow is dulled through overuse. Thus, mythological hyper bole mars the success of many lyrics which might otherwise be tolerable. Indeed, the best lyrics of the period are those which employ the least reference to Greek and Roman deities.1 The Caroline poet no longer followed the rigid metres and stanzaic forms of his predecessors, and the musician, playing a subordinate role, was faced with the IPor a good account of the influence of mythology on English poetry of the period see Douglas Bush, Mythology and the Renaissance Tradition in English Poetry (Minne- apolTsT University of Minnesota Press, 1932). 230 problem of meeting the aesthetic requirements of the new poetry. The content of Caroline verse in particular posed a serious problem since it allowed little scope for the composer’s imagination. Many of the lyrics of this period are too well thought out and tightly packed to allow room for musical interpretation. Each word seems to have been carefully weighed for its narrative, descriptive or emo tional effect. The logical and continuous character of the verse often led to its being incorporated entirely into one large stanza and necessitated some form of throuÿi- composition rather than strophic treatment in the musical setting. Declamatory songs, however, were set both ways, depending upon the degree of logical continuity involved. Poems in regular metre, and in stanzaic form, containing a high degree of self-sufficiency between the stanzas, were made into composed ’’ ballads" in strophic form. English declamatory song was an attempt on the part of the Cavalier composer to portray to the fullest possible extent the meaning of his poet’s words in a single de claimed musical line, and to imitate as closely as possible the oratorical nature of their delivery in actual reci tation. It was frankly modelled after the declamatory principles of the Italian recitative and influenced by Ipurther to this see Eric Ford Hart, "Introduction to Henry Lawes’, Music and Letters, Vol. XXXII, No, 3 (July 1951), pp. YZ2-4. 231 earlier developments in France, but it was beset with prob lems of its own in matters of technique, temperament, metre, style, stress, language, form and subject matter. Indeed, it differed from its foreign counterparts in being a more intellectual attempt at declamation, concerned more with the "sense" of the words than with their emotional impact. The meaning of the text was at the very core of the de clamatory song-writer*s aesthetic considerations and it determined the composer’s choice of techniques as well. Interesting melody was of less importance. To bring out the meaning of his text the Caroline musician employed two basic techniques. The first of these was the use of var ious types of stress or emphasis on important words, pay ing particular attention to the degree of stress required. This was accomplished through the use of (1) greater or lesser duration of note values, (2) varying degrees of pitch, especially large leaps in the melody, (3) the effective employment of pauses or rests, (4) the repetition of words, (5) affective melodic intervals, and (6) bar-accented notes. Any combination of the foregoing might also be employed for added stress. Harmonic emphasis as well as other forms of complementary emphasis in the accompaniment was rare. 232 The second means by which the Cavalier song-writer attempted to portray his poet's meaning was through pictor ial expression of motion, emotion and dimension. This was conveyed via "word-painting", or as it is sometimes called, "eye-music". Caroline composers were especially fond of this technique. Indeed, it was their heritage from the great madrigal school. Madrigal composers were very care ful about "framing" music "to the life of the words", as Byrd states in his introduction to the Psalmes, Songs, and Sonnets of 1611. Thomas Mordhy devoted considerable space to the same subject in his A Plaine and Easie Introduction to Practicall Musick in 1597:^ Moreover you must have a care that when your matter signifieth "ascending", "high", "heaven", and such like you make your music ascend; and by the contrary where your ditty speaketh of "descending", "lowness", "depth", "hell", and others such you must make your music de scend. Morley also has much to say about the emotional character of various musical intervals, melodically as well as har monically. According to the theorist, diatonic notes and progressions signify "cruelty, tyranny, bitterness, hard ness, and such others". Chromatic intervals "may fitly express the passions of grief, weeping, sighs, sorrows, sobs, and such like". The pictorial representation of motion is also treated: ^New edition edited by R. Alec Harman with a fore word by Thurston Dart (London: J. M. Dent & Sons Ltd., 1952), pp. 290-2:__________________________________________ 233 Also if the subject be light you must cause your music go in motions which carry with them a celerity or quickness of time, as minims, crotchets, and quavers; if it be lamentable the notes must go in slow and heavy motions as semibreves, breves, and such like; and all this you shall find examples everywhere in the works of the good musicians. Finally, he goes on to give his views regarding accen tuation and presents.us with a pretty sound English basis for this principle: We must also have a care so as to apply the notes to the words as in singing there be no barbarism com mitted; that is that we cause no syllable which is by nature short be expressed by many notes or one long note, nor no long syllables be expressed with a short note. All of the foregoing techniques are essentially those of the Caroline declamatory song-writer applied horizontally rather than vertically. Morley, it seems, was as much a prophet of the new age as he was a historian of the old. Complementary to the composer's efforts to express the meaning of his poet's words was his attempt repre sent the oratorical nature of poetic delivery. This was accomplished through the somewhat strict observance of four regulatory principles which place restrictions upon the free flow of both the rhythm and the melody of declama tory song. The first and most important of these is the close patterning of the musical rhythm after the natural rhythms of declaimed speech. Thus, the syllabic rhythm follows closely that of the declaimed text, attributing longer note-values to accented syllables and shorter note- 234 values to the poetry and the music, and sometimes gives rise to a syncopated treatment of certain words which is a hallmark of the style.^ The second regulatory principle is the musical approximation of the natural intervals of voice inflection, co-ordinated, wherever possible, with speech rhythm, metre and stress. It is this principle at work which is responsible for the lack of direction and somewhat angular character of the melodic line, and which therefore restricts the tunefulness of the music. Con tributing to this lack of interest on the part of the melody is the third regulatory principle, the incisive marking or punctuation of phrases by long note-values and frequent cadences. It is this vdiich Tovey had in mind when he criticized Henry Lawes’ declamatory songs for tend ing to "overpunctuate the words and mnterrupt the flow of o the music". The "end-stopping" of phrases or lines is practically mandatory, especially on the last words of rhyming verses, and leads to the perfunctory introduction of stock cadences \diich close with a minim or semibreve, thus cutting a work up into many small segments which may not be at all regular. Often one feels that something ^See, for example, the setting of the words "lover", "move her", "win her", "sinner", etc., on Ex. 31, pp. 299-30Q ^Sir Donald Tovey, "Words and Music", in Seventeenth Century Studies Presented to Sir Herbert Grierson (London; bxford University Press, 1W8), p. 350. 235 interesting is about to happen musically and suddenly finds his expectations frustrated by the "overpunctuation" of a line or phrase, much in the manner in which the elementary school boy pulls up at the end of his lines in recitation. Finally, the fourth regulatory principle is the metre of the poetry itself. Ideally, this was to coincide with that of the music, and with the demands of stress, speech rhythm, voice inflection and the marking or "punc tuation" of phrases. This was indeed a large order for the composer to fulfil. It was further complicated by the demands of the recent introduction of bar-lines in music of the period, resulting in the added restriction of the bar-accent.l The bar-accent, although it had not yet become rigid, did introduce a new problem for the declama tory song-writer. Lutenist and madrigal composers had only to observe the metre of their poetry. Now the com poser had to consider the metre of the music as well, and still prove true to the principles of accentuation. One must not, however, overestimate the influence of the bar- accent at this time. Bar-lines and barring were not regu lar in the manuscripts and publications of the period. Many "ballads", for example, were written in double-length bars when introducing a hemiola rhythm which necessitated ^Eric Ford Hart, o£. cit., p. 225. See also the discussion by H. C. Colles, Voice and Verse, a Study of English Song (London: Oxford University Press, l92o), pp7 61-5. 236 the absence of a bar-accent. The metre of the poetry was also an Important factor in determining whether or not a song was to be set as a declamatory piece or as a "ballad". Dactylic metres were favoured for the latter as were many of the poems containing some metrical variety. Declama tory song was almost always fashioned from verses employ ing iambic or trochaic feet. All of the foregoing prin ciples and techniques will be shown in application as we enter into a discussion of William Lawes' songs. One hundred and thirty-six of William Lawes' secular vocal works have thus far been identified. This number does not include any of the music for the composer's masques, nor does it incorporate the many anonymous works in manuscripts and publications of the period, which so closely resemble Lawes' style.^ Vocal styles during this period are so similar that guessing is a hazardous game at best. It would therefore be better to await positive identification before attributing anonymous works to cer- 2 tain composers. Of the total figure quoted above, sixty- ^The masque music is discussed in Chapter IX. ^Such is the case, e.g., with the song "Balow my babe" suggested as Lawes' by Vincent Duckies, "The Gamble Manuscript as a Source of Continuo Song in England", Jnl. of the Am. Musicol. Soc., Vol. I, No. 2 (Summer 1948), p. 37. Also the anonymous song "Come, come away . . ."in Playford's A Musicall Banquet (1651), part iii. No. 10, claimed to Ee by Lawes by J.P. Cutts, "British Museum Additional MS. 31432/ William Lawes' writing for Theatre and Court", The Library, Fifth Series, Vol VII, No. 4 237 nine songs are for solo voice and a thorough-bass, the latter presumably intended for the theorbo-lute or bass viol. Eleven songs are "dialogues", one is a "trialogue", and five are part-songs in madrigal style for from three to five voices. Of the remaining pieces, five are glees of two parts, seven are three-voice drinking songs and thirty-six are catches or rounds in from two to six parts. For two additional pieces the words only are extant.^ Moreover, three of the madrigals and one of the solo songs are incomplete. Of the sixty-nine solo songs with continuo. thirty are in declamatory style, twenty-one are composed "ballads" and dance songs, and eighteen are in a bipartite "recitative-ballad" form, beginning in declamatory style and ending as "ballads". Lawes' autograph volume of secular songs in the British Museum, Add. 31432, contains sixty-one of these works, including forty-nine solo continuo songs, six (December 1952), p. 231. I have found neither of these two songs attributed to William Lawes in any of the manu scripts of publications of the period. John Stafford Smith, in his Musica Antigua (London: Preston Ltd., 1812), p. 207, wronglyattributes Henry Lawes' "If My Mistress Fix Her Eye" (Ayres and Dialogues London: J. Playford, 1653, p. 18) to WTTTIair:------- ---- ^Richard Lovelace, in his Lucasta (London: Thomas Harper, 1649), indicates under the titles of three of his poems that the music was set by William Lawes. The music to one of these, ascribed to William Lawes, the "Sonnet", "When I By Thy Faire Shape", is in the New York Public Li brary, in the John Gamble Commonplace Book (1659). The other two are those referred to above. See Appendix C, p. 405 , for titles. 238 dialogues, the lone "trialogue" and five of the three-part drinking songs.1 The autograph in the Bodleian Library at Oxford, Mus. Sch. B.2, has the madrigals and fourteen of the catches.2 In addition, fifteen of the composer's songs not found elsewhere are in the Drexel manuscript 4041 in the New York Public Library. Also in New York are five additional works, in the John Gamble Commonplace Book. The rest of Lawes' songs are distributed among minor manuscript sources and in several of the Playford miscel lanies published after the composer's death. Many of the catches, dialogues and songs are in Hilton's Catch that Catch Can (1652) and in the various editions of John Play ford' s A Musicall Banquet (1651), Select Ayres and Dia logues (1652), (1653), Musick's Recreation on the Lyra Violl (1652), (1661), Musick's Delight on the Cithren (1666), The Musical Companion (1667), (1673), and The o Treasury of Musick (1669). The last-named work is de- ^The Hughes-Hughes Catalogue of Manuscript Music in the British Museum Irsts in all sTxty-two songs in Add. 31432. The first two pieces in the manuscript, how ever, are one and the same song, "A hall a hall" from John Suckling's The Tragedy of Brennoralt. Unfortunately, J. P. Cutts, while noting the~Tdenti£ication, has insisted on numbering these items separately in his list of the auto graph' s contents, o£. cit., p. 227. ^Twelve catches by William Lawes are printed in score by Edward F. Rimbault, The Rounds, Catches and Canons of England (London: J. B. Nicbolsand Sons,1865), pp. 3Ô-5. ^For further discussion of all of these publications see the remarks in Chapter I, pp. 50-58. 239 voted largely to Henry Lawes* songs, but William also figures prominently with nineteen works. Of the latter, two appear anonymously and three are wrongly attributed to Henry Lawes, as are one each to Nicholas Laniere, Simon Ives and Alphonso Marsh.^ Apparently, Playford*s memory was failing, for among the anonymous and wrongly-attributed songs are some of William Lawes* finest vocal works, in cluding the beautiful "Amarilis", Herrick's "On The Lillyed', Ben Jonson*s "Still to bee Neate, Still to bee Dresst", and the very fetching, "Upp Ladies Upp". The last publi cation to contain Lawes' songs in any quantity was the Ayres and Dialogues of 1678, edited by John Banister and Thomas Low. In it are sixteen of Lawes* choice songs. Thus far, the texts to only forty-seven of the total one hundred and thirty-six secular songs have been identi fied with their poets.% Moreover, eighteen of the identi fied texts are from the drama of the period. They and 1 The songs attributed wrongly to Henry Lawes are "Amarillis", "Pleasure's Bewty Youth Attend Yee" from John Ford's The Lady's Trial (1639), and "That Flame is Born of Earthly Fire". Erroneously ascribed to Nicholas Lanier is Herrick's "On the Lillyes"; to Simon Ives, "Love's Affection" ("Be Not Proud Pretty One") and to Alphonso Marsh, "Cupid's Progress" ("Upp Ladies Upp"). The two anonymous works which are really by William Lawes are "Faith Be Noe Longer Coy" and "On A Proud Lady*' ("Still to bee Neate, Still to bee Dresst") from Ben Jonson*s Epicoene: The Silent Woman (1609). '^Coincident with my identification several were identified by J. P. Cutts, 0£. cit. The list in Appendix C, however, supersedes that printed by Mr. Cutts. 240 their music will be discussed in the next chapter. Of the remaining twenty-nine identified texts, seven are from Robert Herrick's Hesperides (1648), four are from James Shirley's Poems (1646); three poems are by William Dave- nant, one from Madagascar (1638), and two are found in his Works published in 1673. Three poems also are from Richard 1 Lovelace's Lucasta (1649), two from Thomas Carew's Poems (1640), and one each from John Tatham's Ostella (1650), William Herbert's Poems of Pembroke and Ruddier (1660), John Suckling's Fragmentea Aurea (1646), Henry Glapthorne's Argalus and Parthenia (1639) , Edmund Waller's Poems (1645), and William Cartwright's Comedies, Tragi-Comedies, with other Poems . , . (1651). Additional poems are by Thomas 2 Cary, Andrew Marvell and William Browne. One text also is apparently by William Lawes himself, that of the elegy, o "On The Memory of My Friend, John Tomkins. It is possible too that many of the texts of the catches in particular are by the composer, but this is not known for certain. The identification of these texts is of some liter ary importance. The death of William Lawes in 1645 places the composition of the poetry prior to that date, thus en- ^The music to only one of these is extant. See footnote 2, p. 237. ^For the titles of all these poems, see Appendix C. ^Tomkins, brother of Thomas Tomkins and organist of His Majesty's Chapel Royal, was a close friend of Lawes' and died in 1638. 241 abling literary scholars to approximate the composition dates of some of these poems more closely. Such is the case, for example, with Marvell's "A Dialogue between Thyrsis and Dorinda', Shirley's "To His Mistress" ("I would The God of Love Would Dye"), and all seven of the Herrick poems. It has been pointed out that the period between 1632 and 1651 is a difficult one for scholars engaged in the study of poems and their settings. Since 1632 is the latest date covered by E. H. Fellowes in his work on madrigal verse, and the bibliography of the English Song Books by Day and Murrie does not begin until 1651, Lawes' settings are all the more important even from a purely literary point of view. I A further and perhaps more im portant significance of the texts used by Lawes concerns the matter of earlier textual variants. Many of the poems used by the composer differ slightly in their reading from those in published collections by their poets. A few even differ to some great extent, immediately raising the ques tion as to whether or not these texts are, in fact, early versions of the poets' works. This matter has been treated at some length in an exchange of articles between Miss ^Margaret C. Crum, "Notes On The Texts of William Lawes' Songs in B.M. MS. Add. 31432", The Library, 5th Series, Vol. IX, No. 2 (June 1954), p. 1221 The works re ferred to are E. H. Fellowes, English Madrigal Verse 1588— 1632 (London: Oxford University Press, l920), and C. L. 'Day and E. B. Murrie, English Song Books, 1651--1702 (London: Oxford University Press, 1940). 242 Margaret C. Crum and Mr. John P. Cutts, wherein several of the texts in British Museum, Add. 31432, and their variants in published editions have been presented and discussed. It is certainly true, as Miss Crum has shown, that in many cases slight textual changes were made by the composer himself for purely musical reasons. As Miss Crum also indicates, other variants may be the result of care less transcription or faulty memory. Nevertheless, a few undoubtedly represent earlier versions of the poetry than have hitherto been known. Still others may well be entire ly spurious. It remains for the literary scholar to sort these poems out and to assimilate this new information into any future writings concerning them, and their poets. In his vocal works William Lawes was undoubtedly influenced by the Italian monodists, but the intense emo tional and expressive affeti of the latter are not one of his most characteristic features. At least one of his declamatory songs, however, is equal to the best of its Italian models and is certainly the most successful English attempt in that vein. This is probably the composer’s finest song, "Amarillis". The author of the text of this piece is unknown, but the words are particularly well suited to the affective style. Neither Caccini nor Monte verdi exceeded the depth and pathos of its expression and ICrum, o£. cit., and Cutts, oj^, cit. Miss Crura's article is especially good. 243 the beauty of its phrases. Here is a song "well worth an Englishman* s transcribing": Ex. 21 Am arilis ^ [ S ir L r J > - A m -a - ril-is teare thy haire, b eate th y brest sig h weep d is - -p aire, cry, cry. Ay m ee, Is Daph-nis dead I see a I iËL t e s pal - nes on h is brow and his cheeks are drow nd in snowe whither (1) _____ É & whith-cr, whith-er are those r o s - es fle d , 0 "my h art how J cold, how cold he's growne, sure his Lipps are turn'd to stone, # 244 PpSp Cj 4 J ) T hus, t h u s then I of-fer up njy blood, and hath my m i Bod-y in h is shrowd, since liv-ing ac-cents can-not move, knowe ? a *— — I®— f t w — f- — 1----b— TT -- A m -a - rll-ls , knowe A m -a • r i l- i s dyed for Love. "Amarilis" is a fine illustration of the employment of several declamatory techniques. The opening phrase immed iately mirrors the natural speech-rhythm and voice inflec tion of the words and the leap of a large seventh on a strong beat excellently serves the purposes of added stress and a pictorial as well as emotional representation. Pauses are used with telling effect to frame the words "cry", "whither" and "thus". The last is heightened fur ther in being combined with repetition, another means of added stress. The standard Italian exclamation, "Ay mee". 245 from ohi me, receives the "affective" interval and this is lengthened to a minim for added emphasis. Speech- rhythm is also neatly captured in words like "Amarillis", "whither", "dis-paire", "palness". Note also the consis tent treatment in voice inflection of "Amarilis". The pictorial and emotional elements in "beate thy breast" and "living accents", the hardness of the diatonic run in A minor at the words "sure his lipps are turn'd to stone", the shivering of "cold", the actual reproduction of a sigh— all are vividly realistic in creating a spell binding aura of grief and icy death. The incisive marking of phrases is evident here too, but these finely chiselled lines are rather the exception that proves the rule, for the music flows convincingly from one phrase to the next without the irritating interruptions of "overpunctuation". In the final bar the work is balanced by the fall of the major seventh to the conclusion, "knowe Amarilis dyed for Love". There is no attempt at subtlety in Lawes* declama tory songs. The composer is especially fond of "word- painting" and seldom misses an opportunity to indulge in ■ % it, even in his religious works. Some of the pictorial representations are in fact so naive that they call forth a chuckle. Such obvious locomotion verbs as "running", ^See, e.g.. Chapter X, Ex. 41, pp. 376. 246 "flying", "rolling", "rocking", "tossing", "thundering", etc., are temptations which he can never resist. These call for short roulades in the appropriate semiquavers and dotted rhythms. Height and depth, true to the Morley dictum, are subject to ascending or descending intervals respectively. In this Lawes is simply a successor of the madrigalists. Indeed, it was one of the techniques of late polyphonic music which the more refined art of the lutenists rebelled against.^ A chief criticism of English declamatory song will always be its lack of inspired melody and its complete capitulation to the poetry. In his efforts to portray to the utmost the meaning of the words the Caroline com poser frankly abandoned melody as an important criterion. William Lawes was no exception. Often, as in his "0 Let Me Still and Silent Lye", a song is begun with an interest ing melodic phrase only to wander off in stereotyped cliches. Cavalier poetic practices, such as "end-stopping", generally require a cadence at the end of each line or phrase. These, being short and often irregular, produce the sensation that one has barely begun a musical phrase ^Already in 1601 Thomas Campion and Phillip Rosse- ter, in the preface to A Booke of Ayres, criticized music in which "... everie wordis precisely expresst in the Note, like the old exploided action in Comedies, when if they did pronounce Memeni, they would point to the hinder part of their heads, if Video, put their finger in their eye". - 247 before it is arrested by cadence. There is no musical de velopment from one short phrase to the next, since each line has its own problems of stress, pictorial content, speech-rhythm, voice inflection, metre, etc. Then too, the well-developed thought, description and action of each line leave little for the imagination of the composer or for purely musical considerations. The product was already moulded in the poetry. The musician had but to brighten it— if he could. In his efforts to emboss the text Lawes reduced the accompaniment to a single unfigured bass line. This was an abrupt departure from the highly elaborate and inte grated accompaniments of the lutenists, but in keeping with the practices of Italian monody. It was followed by all of the declamatory song-writers, even in their "ballads" and other vocal forms. While Lawes does not specify which instrument shall play the continue, there is little doubt that the theorbo was first choice. The Playford publications often call for songs "to be sung to the Theorbo-Lute or Bass Violl". From the instrumental accompaniments of songs in such printed collections as Musick* s Recreation on the Lyra Violl (1652), (1661) and Mustek* s Delight on the Cithren (1666) it is also clear that the realizations of these bass lines were kept as un obtrusive as possible, with but one or two chords to a 248 bar and little movement in the inner parts. The continues themselves Indicate the simplest of harmonies and contain little motion or imitation of the vocal line. Thus, the accompaniment merely sets the mood for the declamation. It is in the composed "ballad" or "air" that we recognize Lawes* melodic gifts. The seventeenth-century "ballad" is the exact counter to the declamatory song. In its lilting rhythm and straightforward tunefulness it is a stylized imitation of the authentic folk song. Thurston Dart has neatly summed up the distinction between "ballad" and declamatory song as follows: Take away the words of an air and you are left with a tune; a declamatory song without its words is a mere string of notes.1 The "ballad" usually employed triple metre and consisted of two or more quatrains in a regular strophic setting. In the spirit of its namesake it has a simple tune and does not bother overmuch with problems of accentuation. It is meant to be tuneful, light and charming, and so it is. Many of Lawes* "ballads" might be quoted from here. One of the most popular is his setting of Thomas Carew's "Ask Me Noe More Where Jove Bestows" which follows on p. 249. A device frequently encountered in Lawes* "ballads" is the use of the hemiola rhythm. This is a familiar ^In Grove's Dictionary of Music and Musicians (5th ed.), vii, p. 931. --------- ------------------------ 249 Ex. 22 A sk Me Noe M ore Wher Jove B estow es zz o Ask me noe w her Jove be - m ore < t > fad - ing w hen Ju n e is P ast the Rose, Stowes -& - lent bew ties d eepe for your These flow ers as their sle e p e . e s caus in 250 feature of Baroque vocal music which introduces a shift in accent or metre from 6/4 or 3/4 time to 3/2, as for example: I c). 1 cJ. I J i U J 1 The hemiola is characteristic of both French and English courantes (corants) and betrays the *'ballad*s" descent from the dance-song of the turn of the century. There is, in fact, convincing proof that many ^’ ballads'’ were danced to as well as sung, just as we today dance to composed "popular" music or jazz.^ Some of lawes* songs, for ex ample, are found in instrumental dance arrangements in which the names of the dances and not of the songs are specified. Such is the case with one of the composer*s most beloved "ballads’ *, "0 My Clarissa”, which appears as a saraband--although it is in reality a corant— in Play ford* s Court-Ayres (1655). It was also used, and desig nated as a saraband, by Lawes himself in the autograph of "Harpe" Consort No. 4 in D Minor (last movement), where it 2 is to be found with its original variations. A fine example of the employment of the hemiola is Lawes* setting of the anonymous lyric, "Dearest All Faire": ^See the remarks of Thurston Dart in Musica Bri tannica, Vol. VI, pp. xii-xiii. ^The dance-song is No. 95 in Playford*s collection. It is included in Appendix D complete with variations. See also Chapter IV, p. 155. 251 Ex. 23 D eepest, All Faire D e e r-est all faire is in your browne 1 ! 1 ( ^ - r sm y les a re not s m o o th - e r _ — 1 — ^ 1* 1*' ___ th a n your frowne " J . " ■ r - J r 'J r — ^ It should be noted that not only the rhythms of the corant, but those of the gaillard, alman and saraband influenced the composition of song, just as they did the serious in strumental music of the period. Although most of Lawes* ballads are in triple metre a few are in duple, including his very popular setting of "Gather Rosebuds While Y® May". Herrick’s lyrics ex press the well-worn classical theme of the enjoyment of life in the present. This is the same theme which so ab sorbed the leader of the French Pleiade. "Cuiellez des aujourd* hui les roses de la vie", sings Pierre Ronsard. ^In the poem "A Helene". See also Ronsard*s "Mig nonne ; allons voir si la ros^*. 252 In fact, this thought runs through much of the poetry of the late sixteenth and seventeenth centuries and is partly explained by the humanistic interest evinced in the Latin poets and Horace in particular. Such titles as "Enjoy Life While It is Here", "Seize the Day", "Enjoy the Pre sent" are evidence of Horace's preoccupation with this Epicurean philosophy. A comparison of Herrick's popular treatment of the subject, however, as charming as it is, with the more learned style of the Roman poet, is a good example of the lighter treatment accorded classical models as mentioned earlier in the chapter. For his part, Lawes has beautifully captured the spirit of the Cavalier poet's lines. Scarcely a publication or manuscript of the period exists in which this song does not figure prominently. "Gather Ye Rosebuds" as well as "0 My Clarissa" and an other of Lawes* favourites, "Come Lovely Cloris", are also found in contemporary manuscripts as three-part "ballads" and as instrumental dance-song arrangements. Another group of Lawes* continue-songs is composed in T^diat may be termed a bipartite "recitative-ballad" form. In these, the declamatory style is used for all but the last two lines of a stanza. The latter are set in 3/2 rhythm and in "ballad" style. This mixed form is not pe culiar to Lawes alone but is common in manuscripts and publications of the period. It seems to have escaped 253 notice until now and may well have been an effort on the composer's part to make the declamatory song more palat able to less sophisticated listeners by finishing the piece off with a good tune. In some cases the change from common to triple metre seems to reflect a change in the mood or emphasis of the poem, separating the more continu ous thought from general or moral speculation. One of the most curious forms which came into vogue in England about the third decade of the seventeenth cen tury was the dialogue. Despite its novelty, this type of Baroque song has received little attention. It was evi dently modelled after the dialoghi of the early Italian monodists which so greatly influenced the development of the chamber cantata, and paved the way to thé dialogue like recitatives of later opera. Its importance today, however, is mainly historical. In England it seems to have enjoyed a greater popularity than on the Continent and usually occupied a section of its own in song books of the period. By its very nature the dialogue is essen tially a dramatic form, consisting of alternating question- and-answer-type recitative between two voices, usually a treble and a bass. These join together at the end of the composition in a short concerted duet in "familiar" (note- against-note) style. By far the larger number of dialogues occur between mythological subjects, pastoral characters or both. Once again the theme is love and the most 254 favoured setting--the infernal shores of the river Styx, the boatman Charon, ferrier of dead souls, and Hades be yond. Thus, not only do we find in this form the essential musical-dramatic elements from \diich opera was evolving, but we note as well a preoccupation with the identical literary and mythological themes \diich furnished the texts for some of the great landmarks in opera— the same themes which were so popular in Italy and France. There was, however, this difference in the English approach to these subjects; their treatment was lighter, at times even frivo lous, interposing love situations and humour on the most gloomy of scenes. One of Lawes* most interesting and un usual compositions in this setting is that which he calls, "A Trialogue Between Orpheus, Alecto and Euridice". Judging by their frequent publication, both in John Playford*s and in Henry Lawes * collections, and by their appearance in several manuscripts of the period, Lawes* dialogues were the most popular of the century. Of his twelve extant compositions in the form, mention must be made here of "The Dialogue Between Thyrsis and Dorinda" by Andrew Marvell, the anonymous "Nimph and Shepherd", Ben Jonson's "Dialogue Between Joy and Delight", and Robert Herrick's "Dialogue Between Charon and Philomel". The latter was perhaps the best known of all and is es pecially interesting for its dramatic recitative, as in the following illustration:___________________ ____ 255 A Dialogue B etw een Charon and Philom el (e x c e rp t) C haron: Ex. 24 Philom el: What’ s thy re»quest? That since sh e’ s _ now be-neath that Thorow B ass C har: fed my life her in death, And's that all? I’me I fol- lowe -o- P hil: C har : pray but noe seules gone, for love I pray thee Talk not of love, all P h il: C h a r : I ’le give thee sighs and teares, can teares pay pay m e. s c o re s for p a tc h - in g e s a l le s o r m e n d -in g boat an d Pen-ny, or I’le sing so o re s ? long till thou shalt C har I say I’have paide thee Why then be-gin : a song, 256 The passage is noteworthy also for its accentuation, speech rhythms and voice inflections. It is characteristic, how ever, that the dramatic tension is not sustained, for in the closing duet the mood of the lyrics takes on an even more flippant turn, bringing about a frivolous d^ouement which can hardly be termed satisfying. The music follows suit. While it is not within the scope or purpose of this chapter to engage in comparative analysis between Lawes’ songs and those of his contemporaries, a brief discussion of William’s work in relation to that of his brother is perhaps in order. Henry Lawes’ accepted position as dean of seventeenth-century English declamatory song-writers may give the impression that William merely imitated his style. There is no basis for such a claim. Henry Lawes’ early declamatory songs, e.g. those of Cornus, are stylistic ally not more developed than those of his brother. The former’s later songs do show a refinement and perfection of technique, but these were developments which occurred after William’s death.^ Indeed, the songs of both William and Henry follow identical principles of declamation, although they differ in the degree of emphasis upon certain techniques. William, for example, was given more to the use of word-painting, which Henry employed but sparingly. Ipor a discussion of Henry Lawes’ development in his declamatory songs see Hart, opi. cit., passim. 257 William also liked affective intervals and unusual turns of melody which were more emotional than his brother's. His harmonies were also more daring and changeable. William sometimes indulged in a limited amount of ornamen tal display while Henry avoided this almost entirely. As a melodist, William Lawes was by far the more original and inspired of the two, and in terms of productivity his total output in the combined instrumental and vocal fields, in spite of his short life span, greatly exceeds that of his brother. There are extant but three texts to which both William and Henry Lawes set music. Unfortunately, two of William's pieces are only fragments, but these are suffic iently complete to warrant a comparison. William has set all three of the songs in through-composed declamatory style: the first is for solo voice and continue, Thomas Cary's "On His Mistress Crossing the Sea" ("Farewell Faire Sainct"); the second is for four voices with an instrumen tal introduction or "simphony",^ William Herbert's sonnet "Deere Leave Thy Home”; and the third is for five voices, Thomas Carew's "Secresie Protested" ("Fear Not Dear Love"). Only the first is complete. Henry also set the latter in through-composed declamatory style, but of the second and third he made strophic "ballads". The elder Lawes has ^This "simphony" is No. 136 in Playford's Court-Ayres (1655), where is appears as an "Ayre". 258 has indeed been criticised for his handling of Carew's poem, which should never have been set in strophic "ballad" 1 form at all. The content of the text is much too con tinuous in its thought to allow for this. William did not make the same mistake. The final fragment of his five voiced setting suggests a masterpiece written in the style of the late English madrigal, charged with emotional ex pression, characterized by excellent part-writing and con taining all of the pungent contrapuntal and harmonic tech niques of the composer's large instrumental fantasias. Following is Carew's complete text, William's final frag ment, and Henry's three-part "ballad" setting with continue; gecresie Protested by Thomas Carew Feare not deere love that lie reveale those howers of pleasure wee two steale Nor eye shall see nor yet the sun descry what thou and I have done. Noe eare shall heare but wee silent as the night will bee The God of Love himsselfe whose dart did first wound myne and then thy hart Shall never know, that we can tell what Joyes in stolne embraces dwell. Only this meanes may find it out that when I dye Phisitians doubt What causé my death. And then to view of all their Judgements w^“ was true ^By Rhodes Dunlap in % e Poems of Thomas Carew (Oxford: Clarendon Press, iWi^), p. 1^. See also kart, op. cit., No. 4 (October 1951), p. 335. Ripp up my hart, 0 then I feare . the World will fynde thy Picture there. Ex. 25a 259 S e c r e s ie Protested (fin a l frag m en t) THOS. CAREW a 5 VOC. WILLIAM LAWES W < | ? ) | ^ - | | e b O n-ly this m eanes may find it out f On - ly th is m eanes may find it that w hen I dye P h i's i-tfa n s doubt what causd my death out th at when I dye w h at ca u sd my death % And t h e n to view of all their ju d g -m e n ts And th e n to view . of all their judg-m ents .^ And then to view of all their ju d g - - m ents i f I'f f r r i of all th e ir ju d g -m e n ts And t h e n to view I I . . . zf And then to view of all th e ir ju d g -m e n ts ^This version of Carew* s poem is that which is to be found in William Lawes* autograph in the Bodleian, Mus Sch. B.2, p. 37. 260 w hich w as true Rip up my h a rt which w as true Rip up my h a rt which w as true then which w as true Rip up my hart which was true feare then I feare then then I feare then feare then then I feare then 261 feare, the world will then I feare. then -o— feare — then t feare, th e n I feare. then I feare, I feare the O - then I feare feare, th e world will feare, th e n I feare, feare fynde w orld will the the w orld will th e world will fynde, w orld will fynde world w ill the fynde, th e w orld will fynde, th e w o rld feare w ill th e world 262 # fynde th y fynde thy fynde thy Pic - ture Pic tu re Pic tu re th e r. ther. th e r. m will fynde thy fynde thy Pic - ture th er. Pic tu re th e r. Ex. 25b S ecresie P rotested THOS. CAREW HENRY LAWES i Fear not dear ? love th a t rie re - 1 veal those hours of Thorough B ass plea - sure no eye shall steal, nor yet the we two see =r=T su n d es - -J - - J cry w hat th o u and I have t done. 263 The content of William Herbert, Lord Pembroke's sonnet, "Deere Leave Thy Home", lies somewhere between that of logical continuity and stanzaic self-sufficiency. Henry Lawes chose to set this poem as a single-voiced strophic ballad. William made of it a four-voiced madri gal with continue. Each felt a different mood for the lyrics. While Henry's is light and gay, William's is serious, tender and emotional. The opening melodic lines are contrasted below: Ex. 26a S o n n et - Lovefe Content William H e rb e rt, Lord Pembroke Beginning m elody - Henry L aw es (T reasu ry of M usick,1669) Dear leave thy hom e an d com e w ith m ee, th at scorn the world for love of thee Here we will live with- Ex. 26b -in th is P ark, a court of joy an d p le a s -u re s Ark. Beginning m elody - W illiam Lawes (B odl. Ms. M us.Sch. B.2) Dear leave thy home and come w ith mee that a ) r-À- fr. -J scorn the world for love of thee Here we will live w ith - in th is Park, a court of joy and p le a s -u re s Ark. 264 The declamatory settings of Thomas Cary's "On His Mistress Crossing The Sea" (also known as "Far(e)well Faire Sainct") vary in the texts. Indeed, William seems to have set an earlier version of the poem which is conë siderably shorter than that set by Henry Lawes.^ Neither song Is very successful, reflecting the complete mediocrity of the lyrics. They warrant no further discussion. In the opinion of the present writer, the fragments referred to above are representative of #iat appears to be a missing collection of songs and madrigals in three, four and five parts by William Lawes. As pointed out in Chapter I, many of these part-songs must have originally been in cluded in the large autograph volume in the Bodleian Li brary, Mus. Sch. B.2, from which they were tom out, probably for separate binding together with other vocal and dramatic music.^ In examining the contents of the Lawes autograph the author has discovered that at least forty-two folios have been carefully removed close to the binding. All of these mutilations occur immediately pre ceding, immediately following, or in the midst of vocal ICrum, 0£. cit., pp. 124-5, points out that both William and Henry used the early version of the poem and that William omitted lines 7-12. Miss Crum compares this setting of the poem with the later versions found in Par nassus Biceps (London: George Eversden, 1656) and in Richard Fanshawe's II Pastor Fido (London: R. Raworth, 1647). ~ 2 See the discussion of the autographs in Chapter I, pp. 48-50. 265 music only. In some cases, as in the above fragments, the songs have not been torn out but scratched out with pen and ink so that instrumental music on the same page or on the reverse side of the folio might be preserved. The manner in which these pieces are crossed out is the same as that used by the composer when he made errors in copying. Fortunately, all of the pieces and fragments in the mutilated form are decipherable, and these agree iden tically with versions found in other manuscripts and in publications. They were definitely not scratched out be cause of mistakes in composition or in copying. There is, therefore, little doubt that Lawes himself was responsible for removing the vocal and dramatic music from this vol ume, leaving only the instrumental and masque music intact. It has already been said that several autograph volumes belonging to William Lawes* original set are either missing or no longer extant.^ One of these must certainly have been a very valuable collection of the composeras vocal music. In it were probably included the complete settings of the two fragments of Carew's and Pembroke's poems as well as that of another fine three-part fragment in the Bodleian autograph, "Goe Bleeding Hart". In it also may have been the music to Richard Lovelace's two songs mentioned earlier in the chapter. Finally, the missing 266 autograph volume may well have contained those songs by William Lawes for which autographs have not been found but which do exist in Playford's publications and in common place manuscripts of the period. There are, however, two excellent part-songs which were scratched out in the autograph but which are complete. One of these is a three-part setting of James Shirley's "Cease Warring Thoughts" from the Triumph of Beautie, which will be discussed in Chapter IX. The other is an 1 elegy "On The Memory of My Friend: John Tomkins". This is the same piece which is in the Lawes brothers' Choice Psalmes of 1648. It is particularly interesting in its vivid portrayal of wailing and anguish, especially in the excerpt that follows' on p. 267. It will be noted that the figured thorough-bass leaves no doubt as to intended dissonances. The moral habits of Stuart times allowed much which appears shocking by later standards. In music, this was nianifest in the popularity of drinking-songs and indecent catches or rounds, quantities of which were published by Playford and his colleagues. Moreover, these bawdy songs were not the anonymous works of minstrels, tinkers and the like, but the legitimate production of the finest Isee Chapter X, p.353. 267 On The M em ory of My Friend ; John Tomkins(exccrpt) a 3 VOC.. ^ stead -o- stead X IL Stead Thorough B ass on h is shed fut m ourn on h is sh e d mourn - fut te a re s shed on his m ourn - 6 765 teares Herse let's howle sad notes -o- H erse let's howle sad notes sto ln e. - ful H erse le t's howle 7 b?8 sad from h is stolne owne pure v erse from h is pu re v erse ow ne notes stolne from h is owne pure verse 268 musicians of the age. Indecent and obscene catches and songs continued to be published in England at least up until the end of the century. Those of Henry Purcell are a case in point. Evidently, as Professor Westrup has ob served, "there was nothing inconsistent with refinement in being associated with the lowest type of verse. As a composer of drinking-songs William Lawes does not seem to have had an equal in his day. In the taverns and coffee houses of seventeenth-century England his catches and bacchanalian part-songs were a familiar and popular entertainment. It is perhaps a bit ironical that a composer of Lawes' stature should have been honoured in his own time for these trivial pieces. But Lawes himself seems to have spent! a good many hours at the tavern with 2 his friends and fellow musicians. Moreover, the tone of his tavern music betrays the composer's enjoyment of it. He most certainly had a flare for that sort of thing and probably dashed much of it off on the spot. To him it probably afforded a means of relaxation and camaraderie, in addition to winning him a wider following for his more serious music. Lawes' drinking-songs, as distinct from his catches, are all in three parts. The style of these contains many ^J. A. Westrup, Purcell (London: J. M. Dent and Sons Ltd., 1937), p. 16% ^See the anecdote given in Chapter I, p.23. 269 diversified elements, including beginning passages in the declamatory vein, semi-homophonic sections, solos, duets and trios, note-against-note writing and sections in triple metre. The dramatic quality of much of the composer's other work is absent here. The pieces express a "devil- may-care" attitude, with "good sack and brisk claret and sherry" as their basic theme. Some of these songs are quite humorous and have real programmatic appeal, as for example, "The Catts", which is notable for its striking conclusion, see Ex. 28 which follows. In no country has the catch or round attained the popularity which it has held in England for over half a millennium. The famous sumer-canon stands as a monument to the degree of excellence which this form achieved in England as early as medieval times. It continued in favour during the Renaissance and was frequently alluded to and made use of in Elizabethan drama. The first printed collection of rounds and catches was the Pammelia of 1609 issued by Thomas Ravenscroft. This was closely followed by two more of the letter's publications in the same vein, Deuteromelia and Melismata. In the course of the seven teenth century the catch in particular came even more into vogue with the publication of John Hilton's Catch that Catch Can in 1652 and the later editions by John Playford, 270 Ex. 28 T h e C a t t s (fin a l excerpt) Thus they cry Thou and I T hus they cry Thou and I MOWE Thou and Thus they cry MOWE Thorough Bass MOWE still they cry MOWE still they cry MOWE they cry MOWE 271 which were known as The Musical Companion (1667), (1673).^ These editions included works by the foremost musicians of the age and gave rise to "catch clubs" such as the still existing Hibernian Catch Club, which was founded in 1680. The movement continued unabated throughout the eighteenth century, which saw the formation of the famed Noblemen’s and Gentlemen’s Catch Club in 1761 and the Glee Club in 1787. Both lasted well into the nineteenth cen tury. The early clubs usually made their headquarters in some tavern or coffee house, and in this respect it is interesting to note that the opening of the first coffee house in London coincides with the date of the first pub lication of Hilton’s Catch that Catch Can. In the preface to the latter, Hilton expressly states that the rounds and catches in the volume are designed "for the Mutual1 Society of Friends in a Modest Recreation". And in his 1667 edition of The Musical Companion, John Playford dedi cates the music "To His endeared Friends of the late Musick-Society and Meeting, in the Old-Jury, London". He also gives a list of several "citizens" and "gentlemen" of the group. In the introduction to his 1673 edition Playford goes on to say that: This kind of Musick hath for many years past been had in much estimation by the most Judicious and Skil- ^Lawes’ contributions to these publications are discussed in Chapter I, pp.50-56. 272 fui Professors of Musick, for the Excellency of the Composition and Pleasant Harmony; and no late Musick that I have met with affords so much DelightfulRe- creation. There seems to be some question as to the exact nature of the seventeenth-century catch. Publications of the period refer to it as a catch, canon or round without making any clear distinction between the three. The term canon was apparently reserved for compositions employing strict imitation at various intervals and set to religious texts of a more serious nature. The round is a type of canon using a secular text. It is imitated at the unison only and the imitations enter at the same point in all parts. With respect to their musical form, there is no difference between the round and the catch. Rimbault calimed that the identifying element of the catch is a type of hocketus technique which produced new meanings, (usually obscene), as the parts interlaced while catching up to each other. His definition is as follows: The Catch is a humorous vocal composition of three or more harmonic parts in which the melodies are so opposed and interrupted by the contrivance of the com poser, that in the performance the singers catch up each other's sentences, and give to the words a sense different from that of the original reading.1 However, this attractive explanation is not entirely borne out by the facts. It is only occasionally that Rimbault*s "catching-up" formula applies in catches of the seventeenth 273 century# Indeed, only one of Lawes' many examples In the form is a catch a double entente. This is the three-part "See How In Gathering Of Their May", which, unfortunately, may not be quoted from here because of the obscenity of the text as the words and phrases interlace with the addition of the parts. Playford himself defines the catch in his introduction to The Musical Companion (1673 ed.). He makes no mention of the hidden meanings: . . . a Catch is a Song for three Voyces, wherein the several Parts are included in one; or, as it is usually tearmed. Three Parts in One. Secondly, the mannore of Singing them is thus. The First begins and Sings the Catch forward, and when he is at that Note over which his (:S:) Mark or Signature is placed, the Second begins and Sings forward in like manner, and when he is Singing that Note over which the said Sig nature is, the Third begins and Sings, following the other, each singing it round two or three times over, and so conclude. The real distinction between the round and catch seems to be between the content of their respective verse. That of the catch is more humorous and less refined than the text of the round. An adverse criticism which has been extended to rounds and catches of the seventeenth and eighteenth cen turies is that they lack originality, the melodies being artificial and the harmonies static and uninteresting. This criticism is justified, although there are some fine examples of rounds and catches from the period. The com position of a round or catch was indeed a simple matter. 274 One had but to compose a short tune, to harmonize it in as many parts as he wished, and then to string these out in succession in order to have completed a catch. This procedure accounts for the fact that many catches begin with a good tune but shortly take on the character of a harmonic filler or a bass line rather than a pleasing melody. It is only the exceptional round or catch which succeeds in presenting one continuous and attractive tune. In bringing out Catch that Catch Can Hilton es tablished for himself a reputation as that of the composer par excellence. But the 1652 edition was by no means en tirely Hilton's work. In fact, he was the composer of only 48 of 133 pieces. William Lawes was second with eighteen works and eighteen additional composers were represented. Henry Lawes had five contributions; Simon Ives, four; and John Jenkins, two. In the 1667 edition, which almost doubled in size under Playford's editorship, Hilton's selection dropped to thirty-six, while Lawes' increased to twenty-nine. Finally, in the third revised edition, William Lawes' works outstripped those of Hilton, which had by now fallen to twenty-one. In popularity too, Hilton's catches were far behind such household favourites as "The Wisemen Were But Seven", "Come Let Us Cast The Dice", "Drink Tonight of the Moonshine Bright", "Let's Cast Away Care", and many others. This is proven by the 275 greater number of extant manuscripts and publications in which the Lawes catches appear. A discussion of these pieces would not be complete without the inclusion of what was perhaps the most famous of all seventeenth-century catches, the composer's "Three Merry Roys", also known as "The Wisemen Were But Seven". Musically, this piece is inferior to many of the others, but evidently the tune was easily caught by all and well liked in its day (see p. 276). Many of Lawes' catches were also used in stage plays of the period. Some were even composed especially for certain productions. Among these are "Some Drink Boy" from John Suckling's The Goblins (c. 1638); "A Round, A Round, A Round Boys" from Richard Brome's A Joviall Crew (1641); and "A Pox On Our Gaoler'' from Richard Cartwright's The Royal Slave (1636). Ex. 29 T he W ise Men W ere But Seven C atch a 3 voc. The The Wise Men M us - - e s r r ~o--- w ere but were but g seaven g And three m er - ry boyes, and th re e m e r- ry 275 ne'er more shall be for m ee. i th e w o rth - le s th ree tim es three. boyes and three m e r-ry boyes are wee. CHAPTER VIII MUSIC FOR THE THEATRE British drama of the sixteenth and seventeenth centuries abounds in dramatic lyrics, in stage directions for instrumental and vocal music and in references to music, musicians, musical instruments, dances and dance music of many kinds. But, although several attempts have been made to describe the use of this music in the early theatre, comparatively little of it has as yet been identi fied.^ This is especially true of the period preceding the Commonwealth. Nevertheless, there is good reason to hope that a limited quantity of this music is still extant o in early manuscripts and publications. An examination of sources containing the works of William Lawes, for example, has uncovered music for sixteen stage plays, three Court masques, one school masque, and one royal entertainment. ^The most recent study is that of Wm. R. Bowden, The English Dramatic Lyric, 1603-42 (London: Oxford University Press, 1951). Gathers are : John Manifold, "Theatre Music in the Sixteenth and Seventeenth Centuries", Music and Letters, XXIX, No. 4 (October 1948), pp. 366-97;W. J. Lawrence, "Music in the Elizabethan Theatre", The Musical Quarterly, VI (1920); E. B. Reed, Songs from the British Drama, (New Haven: Yale University Press; London: Oxford University Press, 1925); E. W. Naylor, Shakespeare and Mu sic (London: J. M. Dent & Sons Ltd., 1931). See also bibliography. ^See, e.g., the statement by Manifold, op. cit., p. 390, to this effect, also the recent work of J. P. Outts in identifying works in manuscripts of the period with stage plays and poems of the English dramatists. 278 By the time of the Stuarts, the various theatrical enterprises begun by ambitious actors and playwrights dur ing the reign of Elizabeth had increased considerably. These "actors' companies'* maintained their own establish ments under the licence of the Crown and enjoyed a monopoly on their own plays. Often they incorporated playwrights and musicians or else hired their services outright. Another feature of the make-up of an actors' group was the employement of young boys for female parts and for singing and dancing. Two types of early theatre are commonly distingu3shed:| the inexpensive, public open-air playhouses on the Bankside which shared their audiences with the nearby bull- and bear- baiting arenas, and the more expensive and closed-in pri vate theatres, on the fashionable side of the Thames, which catered to a more exclusive clientele. By far the most famous and prosperous of the actors' companies was The King's Men, whose permanent home was the private Black- friars Theatre in the winter and the renowned Globe on the Bankside during summer. This was the company of Richard Burbage, William Shakespeare, Ben Jonson, Beaumont and 1 Fletcher, William Davenant and many others. The musicians Ipor more detailed information regarding The King's Men, other actors' companies and their playhouses, see J. T. Murray, English Dramatic Companies (London: Constable & Co. Ltd., 191Ü), 2 vols. Also E. R. Chambers, The Eliza bethan Stage (London: The Clarendon Press, 1923), 4 vols., and J. Q. Adams, Shakespearian Playhouse (Boston: Hough- 279 who wrote for The King's Men included Ferrabosco II, Thomas Morley, Giovanni Coperario, Campion and Rosseter, Nicholas Lanier, Robert Johnson and William Lawes. It was The King's Men who were at the beck-and-call of the Sovereign for performances at Court both in and out of the city. In 1632-3 a special theatre was built at Whitehall by the noted architect and stage designer, Inigo Jones. Known as the Little Cockpit-at-Court, it is not to be con fused with the more popular Cockpit or Phoenix Theatre in Drury Lane. It was in the former that most of the plays at Court were given. Charles I and his Queen, however, often hired the Blackfriars Theatre and the Cockpit in Drury Lane for performances as well. These stage presen tations were held in the evening and attendance was by in vitation only. The King's Men were paid ten pound per performance in the city and twenty pounds when they accom panied the Sovereign on one of his progresses into the country, or when they played at Hampton Court.1 Other actors' companies also performed before the Court, the most notable of these being Queen Henrietta's Men, which was owned and operated by Christopher Beeston, one of the original members of Shakespeare's troupe. The ton Mifflin Co., 1917). See also bibliography. ^J. Q. Adams, The Dramatic Records of Sir Henry Her bert, Master of the Revels, 1623-1673 (New Haven: Yale University Press, 191V), passim. 280 Queen's Men acted at the Cockpit in Drury Lane from 1625 until 1636. When the theatres were temporarily closed in 1636 due to the plague, Beeston disbanded the group and formed the King and Queen's Young Company, more popularly known as "Beeston's Boys". The latter proved quite suc cessful and when Beeston died, in 1639, William Davenant was placed in charge of the boys, from 1640 until the closing of the theatres in 1642. Court performances were also recorded for Prince Charles' Men, who from the year 1631 acted successively at the Salisbury Court Theatre, The Red Bull and The Fortune, and for a visiting French company of actors under Josias Floridor, who came to Eng land in 1635 and found favour at Court as a protégé of the QuBen. The tradition of music in the early drama owes much to the "children's companies" which were increasingly active at the turn of the century. These groups were formed variously from the children of the Chapel Royal, Windsor and St. Paul's, ostensibly to present plays before the Queen, which they did. The true reason for their es tablishment, however, was to act in the private theatres. The two outstanding companies of child actors were, one known successively as the Children of the Chapel, of the Queen's Revels, and of Blackfriars, and the other made up of the Children of St. Paul's. The home of the former 281 was In the old Blackfriars Theatre, while the latter gave their performances in the singing-school just behind the great Cathedral, In the year 1600 the control of the first group— then the Children of the Chapel--was turned over to Henry Evans and Nathaniel Giles, two unscrupulous masters who obtained a patent from Queen Elizabeth to seize forcibly the most talented children "within this our realm of England" for service in the Chapel Royal, and therefore, in the children's company as well.^ With such power at their command Evans and Giles soon established a magnificent group of child actors and musicians, and all London was set agog by their splendid performances. The sudden popularity of the children's companies adversely affected the future King's Men whose permanent home at this time was at the Globe, and so Shakespeare's troupe was forced to travel in the country to secure large aud iences. The fame of these children has been immortalized by Shakespeare himself (in Hamlet, Act II, sc. ii), ^ o has characterized his own company as "the tragedians of the city" and the Chapel children as the "little eyases, that cry out on the top of question, and are most tyran nically clapped for't". One of the major attractions at the private theatres ^Charles W, Wallace, The Children of the Chapel at Blackfriars (Lincoln, Nebraska: University of Nebraska Press, 1908), p. 61, gives the full account of this patent. 282 was the music, which not only fulfilled important functions within the plays themselves but also provided additional entertainment before the commencement of performances and 1 in between the acts. Indeed, the Children of the Chapel and of St. Paul’s were chosen first and foremost for their musical ability, both vocal and instrumental, and received intensive daily instruction in their art. Since the children could not compete with the professional adult companies in the performance of serious tragedy, their music was an added attraction to draw an élite public to the private theatres, where comedies were more frequently performed. How highly the music of the Children of the Chapel was esteemed is indicated by a contemporary account of the Duke of Stettin-Pomerania, who stopped in England in 1602 on his grand tour of Europe and attended a play at Blackfriars: For a whole hour before the play begins, one listens to charming instrumental music played on organs, lutes, pandorins, mandolins, violins, and flutes; as, indeed, on this occasion, a boy sang cum voce tremula to the accompaniment of a bass viol, so delightfully that, if the Nuns at Milan did not excel him, we had not heard his equal in our travels.% Further to this see.W, W. Greg, "Act-Divisions in Shakespeare", Review of English Studies, IV (1928),; also, T. S. Graves, "The'Act Time' in Elizabethan Theatres", Studies in Philology, XII (1915), pp. 103-34. ^Quoted by Adams, Shakesperian Playhouses, op. cit.„ pp. 207-8, from The Diary of the Duke of Stettin-Pomerania, printed in Transactions of~the RoyalHistorical Society (1890). ----------------------------- --------------- 283 The success of the musical children seems to have had an effect upon the use of music by the adult companies as well. This is not to say that the early public theatres did not employ music. Indeed, the musical tradition in the British theatre was begun long before the organization of children's companies and the development of the private theatre. Shakespeare's early utilization of music is well known and, of course, the Elizabethan "jig-time" was a favourtie attraction after a dramatic performance at the Bankside.^ The plays at the public theatres, however, were apparently begun with three loud blasts of the trumpets rather than with a lengthy musical concert. The perfor mances at the Bankside were also more continuous, afford ing less opportunity for the playing of music in between the acts. It has been shown, moreover, that the incidence of song in the plays presented by the children of Black friars and St. Paul's during the period 1600-13, is practi cally double that of the number of songs used in the pro ductions of The King's Men for those years.^ The latter group, on the other hand, employed more music than did any of the other adult companies during the same period. ^See G. R. Baskervill, The Elizabethan Jig and Re- lated Song Drama (Chicago: Chicago University Press, T929) also, W. J. Lawrence, Pre-Restoration Stage Studies (Cam bridge: Harvard UniversityPress, 1927), pp. 79-101. ^Bowden, o£. cit., pp. 126-7. 284 When, in 1608, Burbage, Shakespeare and company took over the lease of the Blackfriars and received their Royal commission, the number of songs in their plays immediately began to rise. And indeed, between the years 1615-25 the plays of The King's Men actually show a higher incidence of song than did those of the children's companies during the peak of their popularity.^ By at least the third decade of the century, the theatre orchestra had become a standard feature of the English playhouse. Professional musicians were employed not only to perform the incidental music and songs called for in the plays, but, following the example of the earlier private theatres, to entertain the audience before the start of the play itself and in between the acts. The great Puritan parliamentarian, Bulstrode Whitelocke, tells us that he himself composed an "aier"^(with the assistance of Simon Ives), and called it Whitelocke's Coranto; . . . which being cried up, was first played pub- liquely by the Blackfryar's musicke, who were then es teemed the best of common musitians in London. When ever I came to that house (as I did sometimes in those llbid., p. 127. ^See, e.g., W. J. Lawrence, "The English Theatre Orchestra, Its Rise and Early Characteristics", The Musical Quarterly, III, No. 1 (January 1917), pp. 9-27; also, Manifold, op. cit., and H. M. Fitzgibbon, "Instruments and their Music in tlie Elizabethan Drama", The Musical Quarter ly, XVII, No. 3 (July 1931), pp. 319-29. 285 days), though not often to see a play, the musitians would presently play ^itelocke's Coranto, and it was so often called for that they would have it played twice or thrice in an afternoon. . . .1 Later, when the theatres were closed during the Common wealth, the musicians of the theatre orchestras were re duced to penury. In January 1644, less than two years after the playhouses were shut, an anonymous actor bitter ly lamented: Our music that was held so delectable and precious that they scorned to come to a tavern under twenty shillings salary for two hours, now wander with their instruments under their cloaks— I mean, such as have any— into all houses of good fellowship, saluting every room where there is company with, "Will you have any music, gentlemen!"2 Music in the early theatre was assigned varied functions which have led scholars to distinguish between a number of kinds of music employed in the plays.3 While some differences of opinion exist regarding the various categories of this stage music, it is clear that there are at least four major divisions #iich are readily dis- Ipercy Schoies. The Puritans and Music (London: Oxford University Press, 1934), p. 164, prints the complete extract from an unpublished manuscript by Whitelocke en titled, Whitelocke*s Labours remembered in the Annales of his Life, writtenfor theUse ofhis ChiTÏÏren. %. B. Baker, The London Stage (London: W. H. Allen & Co., 1889), 2 vols.TVoTrT7"pT387 3see, e.g.. Manifold, op. cit., Bowden, op. cit.; also, J. Isaacs, Production and Stage-Management atHEEe Blackfriars Theatre (London: Oxford UniversityPress, I933), pp. 1^ 3— 286 cernible. The first of these is the music of the intro ductory and inter-act concerts, which probably consisted of instrumental dance suites and songs. Apparently, this music formed a good share of an afternoon or evening's entertainment. The second consists of the songs called for in the plays themselves. These are designed for a number of purposes and may be classified into several types.1 They are the same vocal forms discussed in Chapter VII: declamatory songs, "ballads", dialogues, part-songs, catches, etc. Indeed, there is no difference between the songs used in the drama and the settings which have al ready been discussed. Sometimes the texts of the songs were written by the dramatist expressly for a play. At others well-known folk tunes are specified, and often just "A Song" is requested, without any indication as to its title. The latter has conveniently been termed "blank- song". The third type of theatre music may be called "functional", i.e. music of a practical kind such as marches and various "flourishes" designed to introduce or identify certain characters or scenes. Finally, there is that large body of music— of which scarcely a trace re mains except in the stage directions of the plays them- ^Bowden, op. cit., has made an elaborate breakdown of the functions of song in the early theatre derived from the "psychology of music" which is perhaps a bit too elaborate. 287 selves— which was designed to prepare or to intensify cer tain dramatic atmospheres, and which might be called "atmospheric" music. Elizabethan and Stuart dramatists had a fairly uniform and consistent terminology for this type of music. Some of the more frequent cues one finds in drama of the period are "loud music", "soft music", "still music", "solemn music", "martiall music", "underground music", etc. Quite often these terms are identified with the instruments for which they were intended, but any indication of specific music or even of the composer of music for a stage play is practically never given. While the identification of individual songs may well reveal the composer's identity, it is extremely doubtful that much of the "atmospheric" music will ever be recovered. The location and dispersal of the musicians in the early theatre orchestra was closely bound up with the physical characteristics of the Elizabethan and Stuart stage and added a dimensional effect to the drama itself. Needless to say, this theatre orchestra was no orchestra if judged by later standards. It has been suggested that the typical playhouse employed a group of from nine to twelve musicians who could perform on various instruments 1 within the respective instrumental families. Moreover, no evidence has as yet been forwarded to prove that these ^Manifold, op. cit., pp. 388-9. 288 musicians ever played together as a complete unit. They appear to have been dispersed in smaller groups about the stage and in the various levels of the "tiring-house"--that maze of rooms behind the almost stereotyped façade of the early stage which housed the inner stage and served for dressing-rooms, storage rooms, music rooms, and chambers for special effects.^ The main "(at)tiring" or dressing- rooms were behind the proscenium doors on either side of the curtained inner stage. Stage directions sometimes call for music emanating from these rooms. But directly above the main "tiring" rooms were the traditional "musick rooms" whose large balconied windows were curtained by a thin cloth of sarsnet or silk so that the musicians could be shielded from sight and yet heard with good volume. Doubtless there were variations of this plan, but in gen eral it would seem that the musicians might be heard from any of the areas behind the "tiring-house" faj^ade, es pecially at the direction "music from within" which is so frequently encountered in early plays. The playhouse orchestra included a full complement of strings, woodwinds, brass and percussion. Apparently, each group had its own particular functions, which had be come somewhat standardized in the musical cues of the Ijohn Cranford Adams, The Globe Playhouse (Cam bridge: Harvard University Press, 1942), Chapters V-X. Chapter IX deals with the music gallery and serves as the basis for the present discussion. 289 dramatists. The strings were the backbone of theatre music and included viols, violins, rebecs, lutes, cittern, pan dora and harp. They were used to accompany singing and dancing, usually for the stage direction calling for "soft music". Among the woodwinds could be found wooden cornets, hautboys (oboes), and recorders. The first two appear to have been used together for the "loud music" so often in dicated in plays of this period and associated with festive occasions. They were also used as a substitute for the brass. The recorders, on the other hand, fulfilled the function of "still music" as a background to religious, 1 supernatural or mourning scenes. The brass instruments were represented only by the trumpets and the horns,(at least the sackbuts (trombones) are not called for by name). As a matter of fact, the brass instruments in general are divorced from the larger body of theatre music, in the sense that they are used almost exclusively for functional purposes. The horns are employed in the traditional hunting symbolism, where "horns winded off stage", or "peal from afar", serve to represent an entire hunting scene. The long brass trumpets were re served to herald the entry or exit of persons of the high est rank, usually Kings, Queens and Emperors. The trumpets Ipor a detailed discussion of the instruments and their function in the early plays see Manifold, pp. cit., passim. 290 had a repertory of several calls, including "tuckets", "sennets", "flourishes", "alarums", etc. The instruments used for military music included the pipe and tabor, the drum, the fife and the bagpipes; not the brass as one might suspect. Often the instrumental musicians, especially the lutenists, were vocalists as well. Sometimes the actors themselves were competent musicians who could sing and accompany themselves on the theorbo-lute or bass viol. Many plays of the period, especially those of The King's Men, require the actors to do their own singing. But when the actors were not musical their songs were usually heard from off stage, i.e. "from within", performed by the pro fessional musicians of the playhouse orchestra. So much then for the musical tradition of the early English theatres of which William Lawes was a part. We turn now to the com poser's specific works for the stage. Practically the only clues which exist for an attemp ted chronology of any of Lawes' compositions are the dates of the performances of stage plays, entertainments and masques for which songs and instrumental music have been identified. Even this chronology is based upon the assump tion that the songs associated with certain dramatic pro ductions were written expressly for plays and revivals presented before the Court, for there is always the remote 291 possibility that the composer may have set the texts of these songs from the Caroline drama as lyrics per se, quite apart from any specific performances. The present writer, however, is of the opinion that William Lawes did indeed write his songs for the presentation of stage plays at Court. Those texts set by Lawes, which can be identi fied with dramatic productions, are all from the plays per formed before the King and Queen vdiile Lawes was in the Royal service or shortly before. All of these performances were presented by The King's Men or by "Beeston's Boys", the players for whom Lawes would naturally write. In some instances more than one song from a given production has been identified with Lawes* music. None of the lyrics set by the composer appear to be from earlier Elizabethan and Jacobean dramatic productions, unless the plays were revived for the Court of Charles I. It was, in fact, the practice in the early theatre for music to be composed anew for each successive production and especially for revivals. It is, moreover, reasonable to suppose that Lawes' popularity as a composer of masques caused many literary men to seek his services. The earliest record of Lawes' dramatic writing is entitled "A Dialogue Between the Passions, Doubt and Love" from Ben Jonson's Entertainment at Welbeck. This Royal entertainment was produced by William Cavendish, Earl of 292 Newcastle, on the occasion of the King’s progress to Scot land in 1633. The dialogue was sung while the Royal party was at dinner and served to welcome the King and introduce the entertainment. Since William Lawes was not at this time one of the private musicians to the King, his presence at Welbeck may be explained by his being in the employ of the Earl, one of the musicians of The King’s Men, or in I some other way unofficially attached to the Court.^ Early in 1634 Lawes collaborated with Simon Ives, a vicar-choral of St. Paul’s, in composing the music to James Shirley's masque. The Triumph of Peace. Lawes' repu tation as a composer of dramatic music must already have been great, since he was chosen for the task by Whitelocke, himself an amateur composer who knew well the music and musicians of his age. It was probably Lawes' work on this masque which helped to earn him his position at Court in 2 the following year. Â new play by William Davenant, entitled Love and Honour, was performed for the Court by The King's Men at Blackfriars on December 12, 1634, and again on New Year's Day, 1637, at Hampton Court. One song, "0 Drawe Your Curtaynes and Apeere", is extant from the play in Lawes' ^The music is in William Lawes' vocal autograph in the British Museum, Add. 31432, under the title "A Dialogue Between Joy and Delight". See also Chapter I, p. 25. The complete discussion of this masque, as well as the others, is reserved for Chapter IX. 293 autograph,^ but because of the two performances it is not possible to date the music with certainty. This is true of several of Lawes’ songs from plays. When the perfor mances were close together it is possible to assume a fair ly accurate date, but when older plays were revived we find the task of dating the songs more difficult, since it was sometimes the practice to compose new music for these re vivals. The evidence upon which the present chronology is based is the fact that all of Lawes* songs that have been identified with plays, are from productions which were pre sented at Court by The King’s Men between the years 1634 and 1642. An older revival is that of Ben Jonson’s Epicoene, or The Silent Woman, which was first published in 1610 and had several performances before William Lawes could have set the beautiful lyric, ’’Still to bee Neate, Still to bee Dresst”. The play was revived twice in the year 1636, once at the Court of St. James and again at the Cockpit- in-Court. It was probably for one or both of these per formances that Lawes’ setting was used. The song itself is a composed ’’ ballad” or dance-song. It is double-barred in the manuscript and employs the hemiola pattern char- ^Br. Mus., Add. 31432, f. 39. ^The song is attributed to William Lawes in John Gamble’s Commonplace Book in the New York Public Library, where it is No. 179. 294 acteristic of Lawes* work in this form Ex. 30 Still to B ee N eate, S till to Bee D restt from Ben Jonson's"E ptcoene" o r "The Silent Woman" Still to Give mee d re sst fface bee bee n eate looke, give mee Thorough Bass feastt grace a s you th a t makes w ere sim - in g ------ p lis s still to roabes loos bee and still per • haire a s fum 'd; free p o w - d rd flow - inge la - die such sw eett tis ne bee pre - more tak - eth sum 'd ; mee glectt though a r t ts hidd th en all th e a - found ; a rtt dult erate w ays off sw e e tt, all _ e y e s; bu tt all is nott th o se pleas m ine sound. h a rtt. is no tt th a tt my 295 Lawes* next large dramatic work was Davenant*s The Triumphs of the Prince d * Amour, in February of 1636. In this masque, as in William Cartwright * s musical play. The Royal Slave, which was produced later in the same year by the students of Christ Church in Oxford, William collaborated with his brother, Henry. During the summer of 1636 the Lawes brothers were part of the household of the King and Queen as they travelled about the countryside visiting various estates of the nobility in an effort to escape the ravages of the plague ’ wÆiich had flared up again in London. The Royal pair, together with Prince Charles and the King * s nephews, the Elector Palatine and Prince Rupert, and many additional members of the Court, were to be guests of Archbishop William Laud, Chancellor of the University of Oxford, towards the end of August. Four plays were planned at Oxford to entertain King Charles and his party during their short stay.^ These were William Strode*s Floating Island, Cartwright*s The Royal Slave, Wilde*s Love * s Hospital and Jasper Mayne * s The City Match. The latter play, for which William set the song *'We Show No Monstrous Crocodile’*, was not presented at Oxford due 2 to lack of sufficient time. The City Match was performed %. S. Steele, Plays and Masques at Court During the Reigns of Elizabeth, James I, and CnarTes I, 1558-1642 (London: Oxford University Press, Ï926y, p. 2 ' 5 9 . o This song is attributed to Lawes in the Drexel manuscript 4041 in the New York Public Library, pp. 8-10. 296 for the Sovereign later, in 1637, at the Royal retreat in Hampton Court. It must have met with good success for it was acted several times afterwards for the King and Queen at Blackfriars. Of the other three plays, only one catch, "A Pox On Our Gaoler”, from The Royal Slave, can be attri- 1 buted to William Lawes. It is possible, however, as Evans points out, that William wrote music for all of these 2 plays. Songs by Henry Lawes are extant for the Floating Island and The Royal Slave, but no instrumental music. Be cause of William* s greater activity in the instrumental field it is likely that he was entrusted with the instru mental part of all of the performances. Indeed, the bro thers Lawes may have collaborated to a far greater extent than our present knowledge indicates. So great was the number of deaths from the horrify ing plague as it spread to every quarter of London in the early days of the year 1636 that all of the theatres were closed on May 12. For almost a year and a half following, the playhouses remained shut as the disease claimed thou sands of lives and a large part of the population fled the city. For only one week did the plague subside enough to ^This catch is in John Playford*s Musical Companion (London: J. Playford, 1667 and 1673). Playford states that it definitely was sung in the play. %illa McClung Evans, Henry Lawes (London: Oxford University Press, 1941), pp. 123-4, n. 37 p. 127, n. 7. 297 allow the theatres to reopen, from February 23 to March 2, 1637, after which they remained closed again until the following October.^ Apparently the closing of the theatres did not curtail Court performances completely, Christopher Beeston's newly organized King and Queen's Young Company gave their first performance before the Court at St. James's on February 7, 1637. The play was a revival of Beaumont and Fletcher's Cupid's Revenge, which had originally been produced by the King's Revels Company in 1611. It was probably for the 1637 performance that Lawes composed the music for the song "Lovers, rejoicel your pains shall be rewarded", which is sung in the temple scene in Act II. Interestingly enough, this is Lawes' only dramatic setting for this year. When the plague finally subsided and the Court re turned to London from its retreat at Hampton Court, the theatres were once again reopened. The new year, 1638, was apparently William Lawes' most active one in the dra matic field, for in this year he composed music for at least seven new productions which were presented before ^J. Q. Adams, Shapespearian Playhouses, op. cit., pp. 356-7. ----------------- ------- --- 2John P. Cutts, "British Museum Additional MS. 31432. . . .", The Library, Vol. VII, No. 4 (December 195$ p. 233, mentions a revival of the play in 1639. Mr. Cutts has probably confused that date with the patent of monopoly which was granted Beeston's Boys for Cupid's Revenge in 298 the Court. The first presentation of the year was the masque, Britannia Triumphans, in which Davenant, Inigo Jones, the great architect and stage designer, and William Lawes collaborated. This was followed in about a month by Sir John Suckling's Aglaura, which was acted before the Court twice in 1638, once at the Cockpit at Whitehall, on February 7, and again at the Balckfriars, on April 3. Both performances were by The King's Men. Like the pro duction of The Royal Slave in Oxford two years before, Aglaura made use of stage scenery and elaborate and costly costumes. Moreover, Suckling paid for all of this himself, as Aubrey testifies: When his [suckling'sl Aglaura was [acted] , he bought all the cloathes himselfe, which were very rich; no tinsill, all the lace pure gold and silver, which cost him . . . I have now forgott. He had some scaenes to it, which in those dayes were only used at masques.1 William and Henry both wrote music for this play and at least one song of each of the brothers is extant. Henry's setting of the song "Noe, noe faire Herritick" is well known, but William's charming music to Orsames' song in Act IV, "Why Soe Pall and Wan Fond Lover", has received O less attention than it merits. The song is cleverly con- ^John Aubrey, Brief Lives (London: Longman et al., 1813), 2 vols., ii, pT'244. “ ^Henry's song may be seen in Playford's Ayres and Dialogues, 1652 and later editions. William's song is in the New York Public Library, Drexel manuscript 4041, pp. 10-12, where it is attributed to him. 299 Ex. 31 Why Soe Pall and Wan Fond Lover from John S uckling's "Aglaura" Why soe pall and wan fond lov-er pre-thee why soe pall Thorough B ass look-ing ill pre-vaile will when lookinge well can’t move her pri-thee why soe pall m utt young sin-ner why soe dull and pri-thee why soe m utt w ill when speaking well can’t win her say -in g e n o th -in g e doott pre - thee why soe m utt q uitt q u itt ^ for sh am e th is will n o tt move th is if of h ir se lp h shee will nott can - nott take her take h ir. th e d iv -e ll love noth ^ in g can make hir 300 structed of rising scale lines which portray the question ing of the text and of charming melodic turns for the after-questions. All of these build towards the final and flippant afterthought. Here there is good declamation, fine melody and a preconceived formal plan which adds much to the success of the music. Lawes also composed the music for Suckling's next play, The Goblins, which was acted before the Court by The King's Men sometime during the spring of the same year. Two songs are extant: a three-part drinking-song, "A Health to the No(r)therne Lass”, and the catch, "Some Drink, Boy”. The remaining dramatic productions of 1638 for which the composer wrote music include The Lost Lady by Sir William Berkeley, The Unfortunate Lovers by William Davenant and John Ford's The Lady's Trial. All were pre sented before the Court by either The King's Men or Bees- ton's Boys. The last-named play was performed at the Cock pit Theatre in Drury Lane and included at least two songs by Lawes: the three-part "What Hoe, Wee Come to be Merry”, and a popular "ballad”, "Pleasure's Bewty Youth Attend Yed'.^ iThe first song is in Lawes* autograph. Add. 31432; the catch may be seen in the 1667 edition of The Musical Companion, op. cit. ^Both pieces are in the vocal autograph. Add. 31432. The ballad may also be seen in Playford's Treasury of Musick (London: J. Playford, 1669), where it appears erroneously under Henry Lawes* name. 301 Lawes* dramatic activity almost comes to a halt in 1639, with only one three-part drinking-song from Suck ling* s The Tragedy of Brennoralt which was performed by The King's Men at Blackfriars.^ This and the following year witness a general lull in Court entertainment as the political horizon darkens and the Bishops* Wars break out with Scotland. It is possible that during this time Lawes was occupied in writing religious music and his larger chamber works for strings. At any rate, he probably did not join the army until after 1641, since in that year he wrote music for three more plays: James Shirley's The Cardinal, Richard Brome's A Joviall Crew and Sir John Den- P ham&s The Sophy. After King Charles retired to Oxford in 1642 and Parliament closed the theatres, Lawes probably took up his new duties at the University Court Headquarters as a commissary. None of his music has as yet been identi fied as having been written during the Court * s residence at Oxford. Indeed, his musical activities may well have been cut short during these troubled years which preceded his death at the Siege of Chester in 1645. There are three works, in addition to the above, for which the dates of performance have evidently not been ^The song is **A Hall, A Hall" and is also to be found in the autograph. Add. 31432. Zlhese songs are, "Come My Daphen", from The Cardi nal, V, iii; "A Round, A Round, A Round Boys" from A Jovi all Crew, and "Somnus the 'Umble God” from The Sophy, V. 302 recorded. The most important of these is James Shirley's school masque, The Triumph of Beautie, which was published in 1646 together with his Poems. The present writer has identified the music by William Lawes to the song "Cease 1 Warring Thoughts" w^ich is from this masque. The two re maining plays are by Thomas Middleton, The Widow and The p Phoenix. There is also good possibility that further in vestigation, especially of the texts of unpublished drama of the period, will reveal that more of Lawes’ vocal music has its source in the Cavalier theatre. Several of the texts of the composer's songs show every indication of being connected with stage plays of the period. The record, as sketched above, presents William Lawes in a new light. It establishes him as one of the leading composers in the field of English dramatic music prior to the advent of Henry Purcell to the musical stage. It also proves himaa logical successor of such early dra matic composers as Ferrabosco II, Coperario, Daniel, Campion, Nicholas Lanier and Robert Johnson. Interestingly enough, Lawes* dramatic activity dates from the very year that Johnson died. Johnson, too, wrote predominantly for ^For an account of this song and the masque see Chapter IX, pp.345-49. ^The song from The Widow is "I Keep My Horse, I Keep My Whore", which is attributed to Lawes in Br. Mus., Add. 29396, where the play is erroneously stated to be by Ben Jonson. Tliis song was also used for a production of Master! Turbulent in 1682. One instrumental piece only is extant Irom-tKeZphoenix.,—which-jwas—or±ginallyL_produced_in_16j ] L Z _ , _ 303 The King's Men and for the Court. Considered as a group, William Lawes' collection of songs for the British drama is perhaps the largest body of songs for the theatre by a single composer which is extant from pre-Commonwealth times. When the music of the masques is added to this, Lawes' stature as a dramatic composer increases even more. CHAPTER IX THE MASQUES Jacobean and Caroline extravagance is nowhere more in evidence than in the lavish Court spectacles, masques and entertainments that were produced at Whitehall and at the great estates and castles of the nobility. The aris tocracy took particular delight in participating person ally in these sophisticated divertissments which were designed to offer them the opportunity to display their individual talents in music, poetry and dancing, to show off their fine clothes and jewellery, to demonstrate their high station in Court favour, and to receive the flattery of the artists whom they patronized. The cost of these spectacles was positively staggering, and at a time when the Royal treasury could little afford it. No wonder then that the Puritans could point to these wasteful expendi tures as one excuse to demand the closing of the playhouses and that they could use these excesses as a political wea pon against the King. Charles I, in his turn, attempted to use the masque as an instrument for his own political propaganda. But, inasmuch as only the aristocracy was per mitted to attend the performances, he succeeded only in bolstering the ego of the Court itself, and further antago nizing the masses of his subjects. 304 305 As one of Charles’ favoured musicians, William Lawes was frequently called upon to write music for these shows. In collaboration with Simon Ives, Henry Lawes and others, he supplied the major portions of the music to Shirley’s Triumph of Peace (1634) and the letter’s Triumph of Beautie and to Davenant’s Triumphs of the Prince D’Amour (1636) and Britannia Triumphans (1638). Fortunately, a quantity of Lawes’ music for each of these masques has been pre served in one of the autograph volumes in the Bodleian Library in Oxford, Mus. Sch. B.2. Although the scores to none of these are complete, yet together they make up the largest collection of music which is extant for the Caro line Court masque. Indeed, aside from a few pieces by Henry Lawes, they are theoonly music extant from these masques. For more than two centuries masques in one form or other had been the chief entertainment at the English Court. They were usually presented to celebrate the festival sea sons. In Caroline times it became traditional to perform one masque on Twelfth Night in honour of the King and one on Shrove Tuesday for the Queen. But masques were also produced for special occasions, such as the entertainment of foreign dignitaries, the marriage of persons of high rank and to celebrate the granting of high titles of no bility by the King. 306 The raison d'etre of the masque and climax of the evening's entertainment was the formal dance presented by the King and Queen and other members of the nobility. In its earliest history this was all there was to a masque, but in the course of time other entertainment was added. The Caroline Masque usually began with a grand procession in which everyone connected with the production took part. Sometimes, as in the case of Shirley's Triumph of Peace, this was a lavish show which paraded through the streets of London for hours before the actual performance. Here one clearly sees the influence of Renaissance festivals and carnivals, especially the masquerade and the Florentine trionfo which was so popular with Lorenzo dei Medici. After the procession had entered the hall and everyone had taken his appointed place the curtain flew up and the spectator was presented with some form of allegorical plot by a group of professional actors. Often this was preceded by a speech of welcome to the King and Queen. Allegory was a permanent feature of the masque, de scending from the early English morality plays. It was revitalized by the spread of the Humanistic movement. In fluenced by the ballet de cour, the plot of the masque attained a degree of dramatic unity, and by the efforts of one man, Ben Jonson, a degree of literary excellence which was even superior to its continental counterpart. 307 Accredited to Jonson as well was the introduction of the humorous and farcical element. According to the poet him self, it was James I's Queen, Anne of Denmark, who had re quested some sort of "shew" which might lend variety and contrast and precede her own, i.e< the main masquing dance, and thus act as a foil or "false masque". To accomplish this Jonson turned to a contemporary French source for in spiration, the more informal ballet-masquerade. The re sulting "antimasques" consisted of grotesque dances or pantomimes which were performed by professional actors rep resenting either the "meaner sort" | (housewives, fishmongers, blacksmiths, tradesmen, etc.), lesser mythological beings; (nymphs, sprites, satyrs, etc.), or birds and animals. These often served as vehicles for biting satire and ridi cule. The number of antimasques within the masque gradu ally increased until in the last of the Court masques, Davenant*s Salmacida Spolia (1640), no less than twenty antimasques were included. This tendency proved a cancer ous growth which, together with the increasing complexities and extravagance of the stage machinery, designs and cos tuming, contributed not only to the literary decline of the masque, but to the break-up of the form itself. Songs and choruses formed another part of the masque and were usually interspersed between the figured dances of the masquers and the revels, which constituted the clos- 308 ing portion of the work. These were serious songs perform ed by the allegorical characters or the deities themselves, extolling the virtues and deeds of the Royal pair through the use of allegory. The vocal forms were largely the same as the secular forms employed in setting Cavalier poetry or lyrics from the drama. They included declamatory songs, composed "ballads", dialogues, and "trialogues". The choruses varied between part-songs of three, four and five voices in familiar "ballad" style*(note-against-note), to others in the style of the late English madrigal, or more frequently, a blend of both styles. The music of the antimasques probably consisted of humorous and lively dance tunes, catches, drinking-songs and traditional folk music. The figured dances of the Grand Masquers, i.e. the King and Queen and the nobility, were, as stated above, the high point of the evening’s entertainment. These were presented in the sequence of an "entry", a "main dance", and a "going-off". The masquers, who numbered either ei^, twelve or sixteen, usually made a surprise appearance from some place of concealment on the stage and then descended to a lower stage or "apron" for the masquing dances. The latter consisted of stately pavans, almans, corants, gaill ards and sarabands, or in other words the same instrumental 309 music of the period.^ The "main dance" of the Grand Mas quers was a lengthy and majestic pavan, which was often referred to as the "measures", a term which had become 2 traditional for the pavan at the English Court. As has been pointed out in previous chapters, the pavan was the most serious of the dance forms and often served as the first movement of a suite. After the "main dance" there occurred the famous "revels", in which the masquers de scended from the stage on specially provided staircases or ramps and chose partners from the audience for informal dancing. After this the masquers returned to the upper stage instead of remaining in the hall with the guests, as was the practice in similar continental entertainments such as the Italian veglia and masquerie, or the French ballet de cour. At this point the final dance or "going- off" was presented by the masquers, followed by an epilogue addressed to the King and Queen. In the later Caroline masques the last dance was often discarded in favour of a "Grand Chorus". The latter is true of all of Lawes' masques. As in the theatre orchestra, the location of the ^For a discussion of all these dances and their steps see Chapter III, pp. 123-128. ^Further to this see Otto Gombosi, "Some Musical Aspects of the English Court Masque", Journal of the Ameri can Mu si CO logical Society, Vol. I (Fall 1948) ,*lîo. "3, p. TT~and passim. 310 musicians during the masque performances was one of dis persal into several small groups about the stage and be hind the scenes. There was no main orchestra. Unfortunate ly, accounts of the exact numbers, types and placement of these groups are exceedingly rare, the best being that of Thomas Campion for the Masque in Honour of Lord Hay (1607) for which he wrote some music. Campion places his musi cians in three groups; ten, including two violins, lutes, harpsichord and trombone, to the right of the stage near to the audience; twelve, made up entirely of bowed strings, to the left of the stage; and twelve, six voices and six cornets, again to the right but upon a higher platform and further back. In addition to these there seems to have been a group of "hautboys" in the gallery. It was also the practice for singers on the stage to accompany them selves with lutes, and "music from within" is used effec tively in the masque as it is in the drama of the period. By the placement of these groups it is noted that the orchestration of the masque is primarily concerned with dimensional effects. Presumably, each group, or any com bination of groups, could support the actions taking place on any of the stage levels. They could also combine all of their resources with full dimensional effect, for the grand finale. ^E. J. Dent, Foundations of English Opera (Cambridge: Cambridge University Press, 1928 X 7 p. 22 . _ _ _ _ _ _ _ _ _ I 311 The only reference which we have to William Lawes* orchestra is that given by Whitelocke for the Triumph of Peace. According to this parliamentarian there were "Fourty Lutes at one time, besides other instruments and 1 voices of the most excellent musicians in Consort". We learn even more of the groups that participated in the Triumph of Peace from Whitelocke* s account of the pro cession which preceded the masque proper. **A dozen of the best Trumpeters * provided an escort for the one hundred Gentlemen of the Inns of Court. This was contrasted with **Musick of Keys and Tongues and the like, snapping and yet playing in a Consort" by the cripples and beggars of the first antimasque. And afteritüs **came other Musicians on Horseback playing upon Bag-pipes, Horn-pipes, and such kind of Northern Musick" which introduced the antimasque of the Projectors. At several additional points throughout the long procession Whitelocke states that there were groups of six renowned musicians mounted on horseback and attended by laquies and footmen who carried torches. In one of the Roman chariots, which immediately preceded those of the Grand Masquers, there were again "about a dozen Musicians**. These "play'd upon excellent and loud musick all the way as they wentfi and before each of the chariots bearing mem- Ipor this and the following quotations see Bulstrode Whitelocke, Memorials of the English Affairs (London; Na thaniel Ponder, 1682), pp. l9-2u7 312 bers of the nobility "came six more Musicians on Foot- clothes". According to the complete report the total number of instrumental musicians alone for this masque must have been well over one hundred. This is more than twice the number used by Campion. The staging of Jacobean and Caroline masques inclu ded highly ornate prosceniums, complex stage machinery, magnificent costumes, elaborate scenery, revolving stage sets or periaktoi and numerous special effects. All of these were the province of the ingenious Inigo Jones. The Stuarts spared no expense in their efforts to exceed the spectacles of foreign courts and gave Jones a free hand to design and construct the most lavish sets and costumes. The latter had studied his craft in Italy and closely copied Italian as well as French models for his productions, es pecially the sets of Guilio Parigi. The Court masques were usually presented at the great Banqueting House at Whitehall, which Jones specially adorned for the occasion. The audience was seated upon scaffolding or '^degrees" ex pressly built for the performance. The King and Queen were seated on the "State" which was covered by a canopy at the head of the audience. Immediately in front of the Royal pair was the dancing place and beyond that rose the stage, consisting of two or more levels which carried the eye up to the gallery when the entire scene was disclosed. 313 Workmen were stationed on the roof, at the stage windows and beneath the stage itself to manage the complicated machinery and special effects for situations involving deus ex machina and scenery changes. Ben Jonson and Inigo Jones dominated the development of the Court masque in England. Together, during the reign of James I, they brought the form to the peak of its popularity. But after th*e accession of Charles I a jea lous rivalry developed between the two men which finally ended in the retirement of the poet. Jonson was intent on making of the masque a lasting literary art form. Jones, as chief surveyor of His Majesty's works, would not allow anything or anyone to interfere with his grandiose staging and insisted that he be given "top billing" on all masque publications. Because he refused to submit to Jones' de mands, Ben Jonson received no commissions to write for the Court masques after 1631. Thereafter they were turned over to James Shirley and William Davenant, both of whom agreed to meet the demands of Inigo Jones. Thus, by dras tically reducing the importance of the plot, by greatly increasing the farcical element, and by subordinating the action of both to the demands of Jones' spectacular stage techniques, Shirley and Davenant loosened the cords which unified the work as a whole and they thereby contributed to the deterioration of the masque itself. 314 Shirley's Triumph of Peace was the most elaborate and costly of all Court masques. According to Whitelocke, wÆio was in charge of the music, the total outlay exceeded twenty-one thousand pounds. Today this would be roughly equivalent to some 420,000 pounds or equal to the cost of some of the most expensive Hollywood extravaganzas. For their parts in composing the music, William Lawes and Simon Ives received one hundred pounds apiece and the entire cost of the music alone was one thousand pounds. The cir cumstances surrounding the masque were political, which accounts in part for the excessive expenditure. The Puri tan opposition was becoming increasingly vehement in their denunciation of stage plays and entertainments. In 1633, William Prynne, a barrister of Lincoln's Inn and a Puritan pamphleteer, published his famous Histrio-Mastix, in which he claimed that kings and emperors who were enthusiasts of drama had always met with violent deaths, and in which he also included a phrase in the table of contents to the effect that "Women actors" were "Notorious Whores". In this publication Archbishop William Laud saw his oppor tunity to be rid of Prynne, who was a formidable opponent of Arminianism and Ceremonialism. Laud waited until a certain pastoral, in which Henrietta Maria was taking part, was presented and the next day he showed the book and the questionable passages to the King and Queen. The Sover 315 eigns, though greatly annoyed, chose to ignore the book until Laud and Others, taking other writings of Prynne out of context, built up a strong enough case. Prynne was then sent to the Tower to await trial by the Star Chamber. In the meantime the King let it be known to some of his servants who were members of the four great societies of the legal profession that he would look favourably upon the presentation of a masque some time during the season of the Christmas festivities as a testimony of their loyal ty and affection for the Crown. By this it was hoped that the honourable societies of the Inns of Court would demon strate their unanimous difference of opinion with Prynne, who was of course himself a member of Lincoln's Inn, and thus refute the Histrio-Mastix. The Royal suggestion was seized upon and the Inns of Court decided to present the masque "in the noblest and most stately manner, that could be invented".^ Two members were chosen by each of the societies, the Middle Temple, the Inner Temple, Lincoln's Inn, and Gray's Inn, to form a committee to plan and carry out the details. Whitelocke himself was one of the members for the Middle Temple and was chosen by the committee to supervise the entire production. This parliamentarian, as it has already been noted, was an accomplished musician who was well acquainted with the best composers in London ^Ibld., pp. 18-19. 316 through the weekly chamber music concerts which were held at his father's house. It was Whitelocke who chose William Lawes and Simon Ives to write the music, and to supervise the entire musical part of the masque, for in addition to Lawes and Ives "Four of the most excellent Musicians of the Queen's Chappel, Monsieur la Mare, Monsieur du Vail, Monsieur Robert, and Monsieur Mari, and divers Others of foreign Nations, who were most eminent in their Art", and other English musicians were"to bear their parts in the Musick; and for the better preparation and practice of the Musick, they had meetings together of English, French, Italians, Germans, and other Masters of Musick". White locke also tells us that "the Dancers, Masquers, Anti- Masquers and Musicians, did before-hand practice in the place where they were to present the Masqud'. Four "Gentlemen" from each of the Inns of Court were chosen as the Grand Masquers on the basis of their "Persons, Dancing and Garb". They were to be drawn in "Roman Triumphant Chariots" #iich "being of an Oval Form, in the Seats there would be no difference of place in them". On Candelmas Day, February 2, 1634, all of "the Masquers, Horsemen, Musicians, Dancers, and all that were Actors in this business, according to order met at Ely- house in Holborn, there the grand Committee sate all day to Order all Affairs; and when the Evening was come, all 317 things being in full readiness, they began to set forth in this order down Chancery Lane to Whitehall?. Whitelocke's vivid account of the procession that followed has already been referred to in relation to the musicians taking part in the masque. But the music was only one feature of a much more luxurious display. The entire procession, consisting of hundreds of men, was dressed in the most expensive and colourful costumes, trirraned with solid silver and with gold. Even the horses were outfitted and plumed in the colours of their riders and each group had its colour scheme, "The Torches and flaming huge Flamboys bom at the sides of each Chariot, made it seem lightsom as at Noon-day". We can well imagine the effect this created on all London as the giant pro cession of Gentlemen, guards, dancers, actors, musicians, masquers, horses, chariots, laquies, footmen, antimasquers and others, all in their dazzling finery and lighted by torchlight, slowly marched down Chancery Lane to the rhy thm of various music and the cheers of "the multitude of Spectators in the Streets j^and^ besides the windows" who "seemed loth to part with so glorious a Spectacle". Charles I and his Queen were so impressed with the pro cession that they ordered "that the whole show might fetch a turn about the Tilt-yard, that their Majesties might have a double view of them". 318 Arriving at Whitehall-Gate the entire pageant a- lighted and dispersed to the Banqueting Hall "and several Rooms and places prepared for them". "In the meantime the Banquetting-house at White-hall was-so crowded with fair Ladies, glittering with their rich cloths and richer Jewels, and with Lords and gentlemen of great quality that there was scarce room for the King and Queen to enter In." "The King and Queen, and all Their Noble Train being come In, the Masque began, and was Incomparably performed In the Dancing, Speeches, Muslck, and Scenes; the Dances, Figures, Properties, the Voices, Instruments, Songs, Airs, Composures, the Words and Actions, were all of them exact and none failed in their Parts of them, and the scenes were most curious and costly. Shirley's text demonstrates how completely the Jonsonlan Ideals were abandoned to bare exteriors.^ There Is no dramatic unity or continuity In the Triumph of Peace Instead, there Is a regression to sheer pageantry: some Inconsequential dialogue, antimasques In the guise of dance pantomimes, songs, choruses, dances, and allegory, with little connection between them. The opening scene was the favourite early Baroque perspective of palaces. ^Ibld., pp. 20-1. ^The entire masque Is printed In The Mermaid Series edition, James Shirley, with an Introduction by Edmund Gosse (London: Vizetelly & Co., 1888), pp. 437-66. 319 porticoes, "and other noble pieces of architecture", form ing two oblique rows on either side of the stage and lead ing the eye to the central Piazza of Peace, which was seen in the distance. A number of characters enter at spaced intervals, representing Opinion, Confidence, Fancy, Jollity Laughter, Novelty and Admiration. The playful dialogue that follows reveals that they have come to Court to help In the presentation of the masque. It also Indicates how Important the antimasque had become In the Caroline masque, as evidence the following conversation: Fancy: How many antimasques have they! of what nature? For these are fancies that take most; your dull And phlegmatic Inventions are exploded. Give me a nimble antimasque. Opinion: They have none, sir. Laughter: No antimasqueI I'd laught at that, " 1'faith. Jollity: What make we here? No jollity! Fancy: No antImasqueI Bid 'em down with the scene, and sell the timber. Send Jupiter to grass, and bid Apollo Keep cows again . . .1 The characters decide to present the first antimasque them selves and they dance, "expressing the natures of the pre senters" . After this Opinion calls for something In a llbld., p. 448. 320 different vein and Fancy obliges with a scene change to "A spick and span new tavern". Here the second antimasque Is presented, consisting of a series of dance pantomimes; first, by the master of the tavern, his wife and servants; after these, "a Maquerelle, two Wenches, two wanton Game sters"; and third, a Gentleman and four beggars: The Gentleman first danceth alone; to him the Beggars; he bestows his cKarity; * ~the CrrppTes, upon his going offT"throw away their legs, and dance. After another bit of dialogue In which Opinion Is still not satisfied. Fancy brings on the third antimasque of six "Projectors", who come on Individually and perform dances as Fancy describes each one. Whltelocke tells us that Attorney Noy had a great hand In this antimasque "be cause by It an Information was covertly given to the King, of the unfitness and ridiculousness of these Projects a- galnst the Law".^ Whltelocke Is referring to the practice of the Crown In granting patents of monopoly to Individuals or "projectors" for all kinds of nonsensical purposes. The fifth "projector", for example, demands a patent of monopoly "to fatten poultry with scrapings of a carrot". The fourth "projector" claims the Invention of an utterly "fantastic" device, no less than a diving bell or suit with which the occupant could "fetch up gold or whatever jewels have been lost. In any river o' the world". When 321 all have been presented, the "projectors" are joined by the characters of the preceding antimasque and they dance. Opinion now asks for "some other than human shapes", and Fancy obliges with another scene change to a woody landscape and another dance pantomime: An Owl, a Crow, a Kite, a Jay, a Magpie. The birds dance and wonder at the Owl. When these are gone, en ter a Merchant, a'Horseback with his portmanteau; two thieves, set upon him and rob him: these by a Con stable and Officers are apprehended and carried off. Then four Nymphs enter dancing, with their javelins; three Satyrs spy them and attempt their persons; one of the Nymphs escapeth; a noise of hunters and their horns within, as at the fall of a deer; then enter four Huntsmen and one Nymph; these drive away the Satyrs, and having rescued the Nymphs, dance with them. Opinion Is still not content and asks "This all you will present?" Fancy claims that his Invention cannot be ex hausted and he changes the scene once more to another land scape. Again there Is a sequence of dances and pantomimes; first, between three dotterels and three dotterel-catchers, and next, this scene borrowed from Cervantes: . . . enter a Windmill, a fantastic Knight, and his Squire armed. The fantastic adventurer with his lance makes many attempts upon the Windmill, which his Squire imitates: to them enter a Country-gentleman and his Servant. These are assaulted by the Knight and his Squire, but are sent off lame for their folly. After the antimasques are concluded, some solemn music Introduces the serious part of the masque, which takes the form of an allegory between Irene (Peace), Eu- nomla (Law) and Dlche (Justice). Each descends from the heavens, deus ex machina, on differently coloured clouds. 322 and sings: first, a declamatory song with chorus by Irene, then a dialogue between Irene and Eunomia #iich is also concluded by a chorus, and finally, a trio or "trlalogue" between Irene, Eunomia, and Dlche with a short Interlude again for the chorus. William Lawes* music to most of this part of the masque Is extant.^ After another song by "the whole train of Musicians" the scene Is changed "and the Masquers appear sitting on the ascent of a hill, cut out like the degrees of a theatre". The masquers are then presented In a speech by "a Genius or angelical per son" . "Here, with loud music, the Masquers descend and dance their entry to the violins"; which ended, they re tire to the scene. At this point Shirley unexpectedly In troduces a hoax. "A crack Is heard In the works, as If there were some danger by some piece of the machines fall ing" and some workmen and their wives force their way onto the stage claiming that they have a right to see the masque. ^Most of Lawes* score for the Triumph of Peace Is printed by E. J. Dent, Foundations o£ Ënglish“~Üpëra (Cam- brldge: Cambridge University Press, 1925), pp. 30-7. This does not, however. Include the song "In Envye of the Night*' which Is In the British Museum autograph, Add. 31432, and a final fragment In Bodleian, Mus. Sch. B.2. A few correc tions must also be noted In Dent's transcription. On p. 36, at the words "Although I am but wild about thee". Dent prints the music with Lawes * own bar-lines and states that the second phrase is a minim short. Lawes, however, has crossed out the stem of the last minim and made it a semi breve. Also, on p. 34,(top of page). Dent has wrongly transcribed the middle part at the words "to show the even ing* s glory", and wrongly set the words. The correction Is as follows: 322 Triumph o f P eace, m osq u e by Jam es Shirley (excerpt Song II) a 3 v o c. crow n'd w ith a w reath of crow n’d w ith a w reath of w ith a w reath crow n’d eve- ning’s th e s ta rs to show show the eve-ning’s glo in her brow, to s ta rs ning’s glo - ry in her brow, the the eve show . brow, th e eve - n in g ’s brow. her show th e eve - n in g ’s brow. her eve - ning’s glo brow. her in 324 Ex. 32 Song VIII: In Envye of The Night (sung byAm philuca) from the masque "The Triumph of Peace" by Jam es Shirley the n ight Thorough B ass heere, w ith my u n - w el-com e light, that keeps her re-veils > r r n th u s I in-vade her clay - ming W arrs to m-- spheare, pro- th a t like soe Cyn - th ia an d All her S ta rrs , m a n - y sp an -g les d re sse her B e-cause zure Tresse cr He rise, He rise c a n -n o t be a guest to sham e the moon and put out all her eyes 325 Suddenly, realizing where they are, they decide to "dance a figary" themselves so that "somebody will think this was meant for an antimasque". When the commoners are gone "the Masquers are encouraged by a song, to their revels with the ladies". This dancing ended, the scene again changes and it is dawn. Amphiluche, forerunner of the morning, appears on a cloud of vapour and sings what is probably the finest song in the masque, "In Envye of the Night". For tunately, Lawes* music for this piece has been preserved in his autograph volume of songs in the British Museum. It is given on page 324. The masque closes as Amphiluche ascends upon her cloud and the masquers are called from their revels by other voices in a final song. The music to the latter was also written by Lawes. The final fragment of this is in the autograph in the Bodleian Library, Mus. Sch. B.2 and appears to have been overlooked by Professor Dent, in his account of the music.^ From Lawes * music it is possible to form a good picture of the general musical plan of the Triumph of Peace Each song is introduced by a short instrumental "simphony.' Of these we have only a treble and an unfigured bass part. These "simphonies’* are no different than the usual "les sons", "almans", "aires" or other dance tunes in two parts 326 which were published by Playford in such profusion. In deed, many of Lawes* "simphonies** from his masques are actually included under their regular dance titles in Playford*s collections.^ This music is rather stately in character and the bass parts maintain some freedom of motion. Its purpose was undoubtedly to bring the more serious characters of the masque onto the stage, usually via deus ex machina, serving at the same time to introduce their songs. There was, however, no thematic relationship between the **simphonies** and the songs that followed them. The songs themselves, as stated previously, do not differ from Lawes* other vocal work. The choruses are in four real parts, except where a single voice or a few voices are used independently. The part of Irene was written for a male tenor and may well have been designed especially for John Lanier, who apparently sang the part at the per- formances. Henry Lawes, it appears, also took part in the masque, if only to sing the part of one of the five "constellacions" who made up the chorus.^ The alto parts also seem intended for male voices. Another peculiarity of the vocal writing is the close position of the lower ^Further to this on pp. 342-5. ^Historical Manuscripts Commission Reports, Vol. I, p. 355, cited byWilla McClung Evans, Henry Lawes (London: Oxford University Press: 1941), p. 83. ^Loc. cit. 327 voices, with the treble separated from them at some dis tance. As Professor Dent has observed, this is one of the technical habits of the day. The same dharacteristic has already been noted in Lawes' instrumental music. Just what part of the music Simon Ives composed it is impossible to know. No music by him for the Triumph of Peace has as yet been identified. Of the nine vocal numbers in the serious part of the masque Lawes is definite ly known to have composed the first, second, third, eighth and ninth. Moreover, in the autograph in the Bodleian Library, Mus. Sch. B.2, at least three folios have been removed from the binding between the ending of the third song and the last fragment of the ninth. The latter has been scratched out but is still decipherable. It is possible that all of the remaining songs to the Triumph of Peace were contained on the missing folios. If Lawes did write the music to all of the songs, as it seems likely he did, then Ives must have been occupied with some of the instrumental music for the antimasques, revels and masquing dances. As regards the latter it would be in teresting indeed to know just how much such collections as Lawes* Royal1 Consort figured in the dances of the evening. We can have a good idea, from Matthew Locke's Masque of Cupid and Death (1653), of the instrumental dances of the 328 1 antimasques. These again are the same short dances of the type found in Playford*s Court-Ayres (1655) and Court ly Masquing Ayres (1662), of which the largest single con- tirbution is by Lawes. From the directions given in the masques themselves it is certain that violins were the main instruments used for these dance tunes and that they were accompanied by bass viols and perhaps lutes. Thus, in the Triumph of Peace, after the masquers are discovered, the following direction is given in the printed text: "Here, with loud music, the Masquers descend and dance their en try to the violins". The Triumph of Peace so pleased the Queen, who in cidentally too^ part in the revels "until it was almost morning", that she desired to see the entire production acted over again. Consequently, the King and Queen were invited by the Lord Mayor of London, some ten days later, to the Merchant-Taylor's Hall in the city for a second per formance. This time the complete procession marched through the streets of the city as before, to the delight of the populace. The description and text of the masque was immediately published and went through three editions in its first year. As for William Lawes * part, there is little doubt that his popularity was greatly enhanced for ^This masque, which is also by Shirley, is published in its entirety as edited by E. J. Dent, Musica Britannica, Vol. II, Cupid and Death (London: Stainerand Bell, 1951). 329 his being chosen to write the music for this, the most spectacular masque ever presented in England. Moreover, in the several editions of the masque, both Lawes and Ives were praised for their work to the detriment of the drama tist himself. The final appended footnote reads as follows: The composition of the music, was performed by Mr. William Lawes, and Mr. Simon Ives, whose art gave an harmonious soul to the otherwise languishing numbers. No doubt Lawes' successful and important work for the Triumph of Peace earned him the recognition at Court which led to his appointment as "musician in ordinary for y® lutes and voices" in the following year. Politically, the Triumph of Peace seems to have been successful in rallying the followers of the King and renew ing their faith in the magnificence and power of the Crown. But how much this spirit carried over into the Puritan camp it is difficult to say. For his part. Archbishop Laud vigorously prosecuted Prynne for his writings and in the following year the latter was sentenced to life im- prisonmnet, fined five thousand pounds, expelled from Lincoln's Inn, disbarred from the practice of the legal profession, his book, the Histrio-mastix, was to be burned, his degree from the university was rescinded, and he suffer ed in addition the painful and humiliating experience of being set upon the pillory and having his ears cut off. During the Interregnum, however, Prynne was released, and 330 in a thoroughly vindictive mood he aided in the prosecution of the Archbishop, who was convicted by the Parliament of high treason and sentenced to the axe. The next Court masque for which Lawes* music is extant in part is Davenant * s The Triumphs of the Prince D*Armour (1636). In this William collaborated with his brother, Henry Lawes. The masque was conceived and pro duced by the members of the Middle Temple of the Inns »of Court in honour of the arrival in England of Charles I * s nephews, Charles and Rupert, the Palatine Princes. The King's sister, Elizabeth, Queen of Frederick V, the Electoi Palatine of Bohemia, had sent her sons for an extended visit to Charles' Court during the fall of 1635 in the hope that the King might thereby be moved to support her claims and those of her sons for regaining control of the Palatinate. Since the late arrival of Prince Rupert co incided with the oncoming Christmas festivities, Davenant was given but three days in which to write the libretto. The title of the masque was derived from the long-estab lished tradition of the four societies of the Inns of Court, each of which appointed a Lord of Misrule to presidd over the Christmas revels at their respective palaces. At the Middle Temple this Christmas Prince was known as the ^For a more detailed account of the visit of the Palatine Princes see Arthur H. Nethercot, Sir William D"Avenant (Chicago: University of Chicago Press, 1938), pp. 132^. ______ ___ 331 Prince d’Amour. It was his function "to preside over the festivities of the season by setting up his court of mis rule and governing in precedence of other constituted au thority".^ The performance of the masque, so hastily pre pared, was delayed for several days, but Davenant was not o permitted to revise the libretto as he so ardently wished. Even more so than in the Triumph of Peace, The Tri umphs of the Prince D'Amour is lacking in dramatic continu ity. This absence of any serious plot is of course inten tional. Davenant, like Shirley, devised the masque as a series of ballets and interludes, similar in design to the ballet de cour. The masque opens with a speech by the Master of Ceremonies to the Prince Elector, Charles Louis, who was seated in the "State", and to whom the masque was dedicated. This is immediately followed by the first anti masque, a tavern dumb-show performed by drunken soldiers, etc. The scene then changes to a camp of war tents, in the midst of which stands the Temple of Mars. The Priests of Mars come out of the temple playing on instruments,(prob ably lutes), and sing about a battle lately fought. A chorus sings a refrain between each stanza. They retire llbid., p. 134. ^Devenant explains this in his preface "To Every Reader", in the printed edition of the masque. James Maid- ment and W. H. Logan, The Dramatic Works of Sir William D'Avenant (Edinburgh: 'Wiliam Paterson, 1ÏÏ72), Vol. I, p p . - 3 1 7 - '4 0 . 332 and the masquers appear from several of the tents dressed as "herolque Knights Templars", disguised by the bevirs of their helmets. They dance their entry, but upon leaving discover Cupid "descending in a bright cloud". The latter sings his charming song, "Whither so gladly, and so fast", and shoots his arrows among all present, dispelling all "warlike hearts" to love. The scene then changes to a "square Piazza" and the second antimasque is presented by five lovers, "a grave formal Spanish lover, a jealous Italian lover, a giddy fantastic French lover, a dull Dutch lover, and a furious debauch'd English lover", each of whom demonstrates his technique in wooing his mistress beneath her balcony win dow. Once more the scene is changed, and this time to a grove of trees, in the middle of which is a clearing for the Temple of Venus. The priests of Venus emerge from the temple, also playing on instruments, and sing their song, which calls for an end to all strife. Now the masquers reappear and dance a second entry. After this, another scene change and the Temple of Apollo is discovered in a grove of laurel trees. The priests of Apollo approach from various parts of the temple and sing "Make room for our God too" who unites all in war and love. From behind the trees appear twelve slaves bearing sections of a ban quet table laden with precious fruits and disguised with 333 green boughs. The priests of Apollo, in another song, call to these "industrious slaves of plenty" to bring in their "Indian fruits". This the slaves do, joining their several sections into one long banquet table in front of the "State". As the princes taste the fruits, all of the priests join in the "Song of Valediction", in which each of the priestly orders wishes their particular attributes upon the two Royal Princes. In the final Grand Chorus, all join in tribute to Charles Louis. Like Ben Jonson's Lovers Made Men (1617), The Tri umphs of the Prince D'Amour was entirely set to music, except for a short prologue to the Prince Elector, but not entirely in stylo recitativo. The only extant music for the masque by Henry Lawes is Cupid's solo, which is in the key of G and in declamatory style. The rest of the music which has survived is by William Lawes and begins with the "simphony" which precedes the second song of the priests of Apollo, in which the latter command the slaves to bring in the banquet. From this point on William's music continues uninterrupted to the end of the masque. This music is more interesting than that of the Triumph of Peace, although Davenant's masque is dramatically less appealing. And since Davenant had only three days to pre pare the text, Lawes had even less time to write the score. The separate entrances of the priests in particular offered 334 the composer an opportunity to display his ingenuity in varying the textures of the choruses. Lawes has made the most of this, using solo declamatory song, dialogues, three-part songs and full choruses interspersed. There is also added contrast at several points where the songs vary from duple to triple metre, interrupting the musical declamation with the more tuneful settings of composed "ballads". More interesting is the fact that the entire "Song of Valediction" is knitted together by the last half of the "simphony" which precedes it, and which Lawes uses as a ritomelle between each of the songs of the priests as they descend from the stage to a position in front of the "State.” Finally, before the Grand Chorus, the com plete "simphony" is repeated once more. Lawes has thus introduced a unifying element to balance the variety of song forms, textures and rhythms. The ritornelle itself is a dignified tune in the triple rhythm of the corant and is well suited for its purpose. The key is Lawes' favoured tonality, C minor. In his analysis of Lawes' music to the Triumph of Peace, Edward Dent has called attention to the composer's strong sense of balanced tonality. This is true of all of Lawes' masque music. It may be seen even more clearly in the ritomelle from the Prince d'Amour described above. ^Dent, cit., p. 39. 335 The song and "simphony" preceding this are in C major, and we recall that Henry Lawes' "Song of Cupid", which occurs earlier, is in the key of G. Lawes' modulations are al most always to the dominant, relative minor, tonic minor or subdominant keys and he uses these to suit the mood of the action or text. Thus, when the priests of Apollo happily call for the banquet to be brought in, the key is major, as it is also for the song of the priests of Mars, but when the priests of Venus sing of passion and love, the minor tonality is maintained throughout. It is clear that Lawes did conceive of his score as one large musical design unified by a balanced tonality. It is in this an ticipation of one continuous and organized piece of music from beginning to end, having a broad sense of tonality, according to Dent, "that we can see the masques to be real forerunners of opera".^ In the same autograph which contains Lawes' music to the Triumph of Peace and The Triumphs of the Prince d*Amour, there is music to yet another masque, which the composer simply entitled The King * s Masque. The present writer has been able to identify this music as belonging to William Davenant's Britannia Triumphans which was pre sented before the King and Queen on the Sunday after 336 Twelfth Night, 1638.1 This was one of the last three masques presented at the Court of Charles I. It is the last Court masque to which music is extant. Whether or not William Lawes collaborated with another musician in the composition of the music it is not yet possible to determine. In the author's opinion it is probable that he did, not only because such collaboration was traditional but because, as in the case of the other masques, the musi cal score for Britannia Triumphans is not complete. The "remarkable" Inigo Jones made the scenery and designs for this production, as he did for the others, and more than fifty sketches of the costumes and scenery are still ex- 2 tant. In a short introduction to the printed edition of the work Davenant informs us that a new masquing hall was especially built for this masque because the ceiling of the old hall had been richly adorned with paintings, and lest these should be ruined by the smoke of many torch- ^The second performance of Britannia Triumphans, in a shortened form, was given at the Juilliard School of Mu sic on December 11, 1953, as the climax and finale of A Festival of British Music in honour of Coronation Year. The score~Tor this production was prepared by the author from the original music and other of Lawes' vocal and in strumental works. ^Some of these are in Percy Simpson and C. F. Bell, Designs by Inigo Jones for Masques and Plays at Court (Lonaon: Oxford University Tress, 1924). OtEers are in Allardyce Nicoll, Stuart Masques and the Renaissance Stage (New York: Harcourt Brace., Co., 1938). The complete collection is in the library of the Duke of Devonshire at Chatsworth. 337 lights and candles, King Charles ordered Inigo Jones to construct the new and temporary hall of timber, A letter from George Garrard to the Earl of Strafford places the site of the new hall, which took two months to build, between the Guard-Chamber and the Banqueting House. Gar rard adds that the new masquing place "will cost too much Money to be pulled down, and yet down it must when the Masks are over".^ Britannia Triumphans was the first masque to be presented at Court in two years. This time the subject was both political and religious. Indeed, the last Court masques almost seem to have their sole justification as political or religious instruments of propaganda. The King, aided by the sterling loyalty of the poets, musicians and artists of his household, was attempting to use the masque for his own aggrandizement in a desperate attempt to bolster his already diminishing power and prestige. Charles I was currently embroiled with the Commons over the question of "ship-money". In the previous year the King had proclaimed himself "Sovereign of the Seas", claiming the Channel and the North Sea for his own and forbidding anyone to navigate or fish in those waters with- Istrafford*s Letters, ii, p. 130, cited by M. S. Steele, Plays and Masques at Court During the Reigns of Elizabeth, James I and CEarTes I, 1 5 5 lo42 (London: Ox- £ord UniversityPress, 1926), p. 269. 338 out his consent. But Charles was faced with a powerful Dutch fleet, as well as an expanding French navy under Cardinal Richelieu, and he desperately needed funds to build the naval power necessary to back up his pretentious claims. To obtain these funds he decided, without the consent of Parliament, to resort to the unpopular "ship- money" tax. This aroused a general resentment throughout the country and added substantially to the already wide spread discontent. Britannia Triumphans sought to vindi cate the King's actions and to assure Charles' loyal sub jects that, despite the rebellious mood of the times, the King "in his Secret Wisdome" would triumph over the forces of evil, restore order and bring lasting peace to the western world. Charles himself appeared in the masque as "Britanocles, the glory of the western world" who "hath by his wisdom, valour and piety, not only vindicated his own, but far distant seas, infested with pirates, and re duc'd the land, by his example, to a real knowledge of all good acts and sciences".^ At the same time that the King was having his troubles over the "ship-money" tax. Archbishop Laud and the episcopate were growing ever more unpopular with the citizenry. The masque, when it was performed, created a furor in powerful Puritan religious circles for the fact 1Quoted from the introduction to the first printed edition of the masque in 1638. 339 that it was acted on a Sunday immediately following Twelfth Night. And to compound this "blasphemy" the masque heaped much ridicule upon the Puritans directly, inasmuch as one of the chief characters of the allegory--indeed, the villain of the masque— was habited as a Puritan and given the name "Imposture". The storm of protest which this created was still very much remembered as late as 1698, when a follower of Jeremy Collier devoted nineteen pages of bitter invective against this same production in an anonymous pamphlet entitled The Stage Condemn'd. The opening allegory of the masque itself is a ver bal contest between Action and Imposture. The former may be termed the spirit of the King's loyal followers, while the latter, in puritan garb, is ridiculed as an apostle of fraudulence and detraction. After some rather lengthy dialogue in which each contests the other's philosophy. Imposture calls upon the magician. Merlin, to raise the spirits of the "mean and low", the multitude, who take no stock in the cultivation of learning or in the arts and sciences. These invoked spirits, cavorting in the setting of a "horrid hell", form the entries of the anti masques, which are six in number. Included in these inter ludes is an antimasque of "mock music" made up of a con sort of pipe and tabor, knackers and bells, tongs and key, and gridiron and shoeing horn. Davenant probably modelled this scene after the first antimasque of cripples and 340 beggars who played similar instruments in Shirley's Triumph of Peace. Other entries consisted of "four old-fashioned Parasitical Courtiers* and one of "rebellious Leaders in war", which included Cade, Kett, Jack Straw and their soldiers. In these short pantomimes the poet was unsparing in his satire of the "graver sort of people" as contrasted with the "noble personages" of the masque proper. Thus, "Imposture governs all" in the vulgar antimasques and Actiod fancies nobler hopes . . . , the arts and sciences" in the serious portion of the performance. The antimasques being ended, the mythological hero, Bellerophon, enters astride his famous winged steed, Pega sus. For him. Merlin conjures up a "Mock Romanza" which is a fine piece of true burlesque on the vulnerable subject of chivalry. The characters are a giant, a knight, a dam sel, a squire and a dwarf. Here the dramatist has borrowed freely from Italian "shews and intermedii" as he himself boasts in the introduction to the printed edition. But Bellerophon is unimpressed with the efforts of Imposture and Merlin and he orders them from the scene, calling in stead to Fame to appear and help celebrate Britanocles' happy hour. The scene is then changed as the earth opens up and the palace of Fame, fashioned of gold, silver, and precious jewels, rises onto the stage. Fame is seen stand ing atop a high tower, her attendants leaning against the 341 rail of the balustrade below. She calls, by way of a song, for Britannocles to show himself: "Breake forth: thou treasure of our si^t." The masquers make their surprise entry from behind the columns of the peristilium and at that instant the gate of the palace opens and Britanocles (Charles I) appears. The palace sinks into the ground while Fame flies upward to remain hidden in the clouds. There follows a series of choruses and songs and it is from this point onward that William Lawes* music is ex tant. After this the masquers descend into the room and dance their entry, while the scene on the stage changes back to Britain. A chorus of poets makes an address to the Queen and the scene is changed again, this time to a nautical background from \dience the sea-nymph, Galatea, emerges astride a Dolphin. She sings a song with choruses, acknowledging in behalf of the sea-world the King’s sovereignty over the seas, and exits "floating on the waves as she came in". While the masquing dances continued ship.s were seen sailing on the sea and a large fleet, "with a prosperous gale, entered into the haven". After the dancing the Valediction was sung, concluding in a Grand Chorus beginning "To Bed, to bed". Besides the King, the list of Grand Masquers, which occurs at the end of Dave nant * s printed libretto, included such notables as Lord Philip Herbert, Lord Lodowick Stuart, Lord Russel, the Duke of Lennox and the Earls of Devonshire, Newport and 342 Andevor. Lawes* music to Britannia Triumphans, like that of the other Court masques, comprises the latter and serious part of the work, including the "simphonies**, "declamatory songs", "ballads", choruses. Valediction and Grand Chorus. This fact is significant in that it indicates the domi nating position William Lawes was accorded when collabo rating with other composers. It should be noted that this is also true of the Triumphs of the Prince d*Amour, in which William worked together with Henry Lawes. Just how much more of the music to Britannia Triumphans was Lawes * work it is difficult to say. Certainly, many of the dances; must have been by him. This may be deduced from the large number of dance tunes written by the composer which were included in Playford*s Court-Ayres of 1655 and the later enlarged edition, the Courtly Masquing Ayres of 1662. The titles of these collections do, in fact, betray the origins of their contents in the masques and revels of the Court. Definite proof of this is furnished by the fact that two of the "simphonies" which introduce the Songs in Britannia Triumphans are printed in the Court-Ayres. The first of these was played for the scene change and entrance of Galatea, but in Playford*s publication it bears the title, "Almaine", and contains an added section in triple 343 rhythm.^ This may be accepted as a tacit acknowledgement that the "simphonies" of the masques were in reality the ordinary dance tunes which were so common during the period a fact that is also borne out by musical analysis. In deed, it is another early example of the developmental thread which leads from the simple dance tune to the early masque and opera "simphonies” and thence to the opera overture itself. The next " simphony^^ in the music to Britannia Tri- umphans serves as the introduction to the Valediction. In Playford's Court-Ayres this is entitled "Ayre", a term which Lawes himself uses for many of his dance tunes. Like the previous "simphony", this one is also in three parts in Lawes* autograph but the inner part has been left out of the printed version by Playford. Like the first piece also, this one has a section in triple metre appended, to it. The added section, which appears to be a saraband, is, however, not extant in Lawes * autograph score of the masque. Indeed, it is probably the music of another song or dance tune from Britannia Triumphans. In fact, several ^The piece is No. 135 in Playford*s Court-Ayres (London; J. Playford, 1655). The added section in triple metre is in reality ati instrumental arrangement of the third verse of Galatea* s song, **0n Ever Moving Waves They Dance", from Britannia Trimnphans. This is further evi dence that "ballads” were danced to as well as sung. ^This "Ayre" is No. 143 in the Court-Ayres. 344 "ayres" or almans in the Court-Ayres and Courtly Masquing Ayres have sarabands or corants added to them. It is probable that these too are from some of the masques or plays of the period. Still another "simphony" by Lawes is in the Court-Ayres as No. 12, but it has not been possible to place it in its proper masque. Another piece by Lawes, entitled the ^ ’ Temple Mask", may have been a "simphony** or dance tune in the Triumphs of the Prince d * Amour, which was presented at the Middle Temple. Other of Lawes* ’ *simphonies** are found as dance tunes in manu scripts of the period, especially in the Bodleian, Mus. Sch. D.220. The Court-Ayres and Courtly Masquing Ayres are pub lications which have been largely ignored by historians. But their value as sources for the original dances, **simph- onies** and songs of the Jacobean and Caroline masque, and possibly for stage plays as well, is paramount. No doubt, further study of these books will disclose still more valuable information about the dances, songs, masques and plays of the period. It is also possible that the entire suites in these publications, of v^ich the identified pieces are a part, are from the same masques. Thus, what at first glance appear to be two rather large and inconse quential collections of simple two-part dance tunes may be the most complete extant record of dramatic music from the 345 reign of Charles I. After Devenant * s Salmacida Spolia, which was per formed at Court in 1640, masques were no longer produced at Whitehall because of the ominous events leading up to the Great Rebellion and because popular resentment against these lavish spectacles could no longer be ignored. But masques continued to be endorsed in private schools for young gentlemen of the upper classes. The form of these sometimes differs considerably from that of the Court masque, especially in the antimasques and in the masquing dances. The plot becomes once more a unified and important component of the whole. In the school masque there was also less emphasis placed upon the staging, designs and costumes because of the large expenses involved. The music; too is curtailed to some extent. Therefore, they are in many instances closer to the literary drama than they are to the traditional masque form. In 1646 Shirley published his Poems, including in the volume a play entitled Narcissus, or. The Self-Lover, and a school masque. The Triumph of Beautie. The latter is faintly linked to the Triumph of Peace, in that the legal nymphs, Irene, Eunomia and Diche, are mentioned in the last lines of the text, but there is no other direct connection between the two masques, either in the plot or otherwise. The subject of the Triumph of Beautie is the 346 judgement of Paris and the libretto calls for a fair amount of singing, much of which occurs off stage. The composer of the music to this masque as well as the music itself 1 has hitherto been unknown. The present writer, however, has identified the music to the song "Cease Warring Thoughts", which occurs immediately following the shepherd scene. The discovery is important, not only because it reveals the name of the composer, William Lawes, and some of the original music for the masque, but because it places Shirley's composition of the text prior to 1645, the year of Lawes' death. The letter's music is also in the Bod leian, Mus. Sch. B.2. In the autograph, "Cease Warring Thoughts" has been scratched out, but it is complete and jclearly decipherable. As in similar cases, three folios have been removed from the autograph immediately following |this song. Once again, it is possible that other music to the Triumph of Beautie may have made up the contents jof the missing pages. ISee, e.g., the statement by E. J. Dent in the intro duction to his edition of Shirley's Cupid and Death, op. bit., p. xi. — ^------------- 347 Ex. 33 C e a se W arring Thoughts (excerpt) from "The Trium ph of B eautie" by Jam es Shirley a 3 voc. th o u g h ts and let h is C ease w arr- ing C ease w arr - ing th o u g h ts Thorough B ass d is - cord brayne te r - en noe more and noe more d is cord te r - en sm o o th and calm e a - g ain e but bee - ta y n e -tayne but bee sm ooth a n d calm e a - gam e, C ris - tall r i v - e r s th a t are C ris - tall r î v - e r s th a t are nigh nigh teach your 348 teach your m ur-m ours har-m on a s vour m ur-m ours h a r- mon - y as your stream es — p a ss - ing by, Ye w inds th a t w aite Up-pon the stream es are winds that a re p a s s - 349 - ers bring p er-fume to th e flow - and spring — ----- g j , — to the floviA-s bring, waite up-pon th e sp rin g and per fum e -Vous w his-pers heere Let your Am - breath - ’rous whispers Let your Am - heere soft m us-ique, mus-ique to his breath soft eare. so ft breath h is mus ique eare. CHAPTER X RELIGIOUS MUSIC Lawes* sacred compositions, like his songs and dramatic works, have been overshadowed by his chamber music. In the religious field he is chiefly remembered for his posthumous contribution to the Choice Psalmes, which was published by his brother in 1648. A single verse anthem, "The Lord is My Light", had the good fortune to be included in Boyce*s Cathedral Music in the latter half of the eighteenth century, and we recall in the writings of Samuel pepys, the diarist’s particular fondness for sing ing "some psalmes of Will Lawes" before retiring for the night. But the full extent and importance of Lawes * re ligious music has until now remained obscure. Besides the works mentioned above, there are extant in manuscript at least a dozen anthems of considerable length, several re ligious canons and some additional freely composed psalms. Moreover, this music is of considerable merit and includes at least one collection which is of unique historical in terest. It is the psalms which form the bulk of Lawes * sacred texts, not only for his freely composed psalms, but for his anthems and religious canons as well. The various psalm settings in England during the sixteenth and seven- 350 351 teenth centureis may be classified into six types. They are: (1) the unharmonized versions of the proper or "common" church tunes, such as appeared in the numerous editions of the English psalters of Stemhold and Hopkins and which were chanted or sung by the congregation after morning or evening prayer; (2) these same traditional proper tunes regulated by an unfigured bass line for the organ; (3) settings in three, four or more parts employ ing the church tunes as canti fermi, like those in Thomas Ravenscroft * s psalter of 1621; (4) newly composed tunes, (as distinct from the traditional church tunes), with an unfigured bass line for the organ such as those by Henry Lawes for George Sandys* A Paraphrase Upon The Divine Poems (1638), and Orlando Gibbons * little known tunes for George Wither * s admirable metrical translations. Hymns and Songs of the Church (1623); (5) religious songs, anthems, and verse-anthems set in the secular declamatory style, and (6) freely composed settings (i.e. not employing canti fermi), in three or more parts, with or without instrumen tal accompaniment, such as William Child*s First Set of Psalms (1639). The latter are frequently indistinguishable from the full anthems of the period. It is to this cate gory that the Choice Psalmes of the Lawes brothers belongs. The metrical paraphrases of George Sandys, traveller, American colonist and religious poet, first appeared in 352 print in 1636, although licensed the year before. A second edition, with an appendix containing the psalm tunes of Henry Lawes set to an unfigured bass line, was published in 1638. Sandy*s psalms, however, never attained great popularity, even though they were dedicated to King Charles and were approved by the Sovereign. The poet was a member of the King*s Privy Council, which probably explains his access to the services of the Lawes brothers for musical settings of his psalms. But dominant conservative forces in the Anglican Church, at odds with the King and his Archbishop, ignored Sandys* paraphrases and they gained no foothold in the singing of the congregation during services, In the private devotions of the King, however, they no doubt had an important place. This may be surmised from the fact that both William and Henry Lawes chose to set Sandys * paraphrases for their own freely composed settings of the psalms, sixty of which appeared in the Choice Psalmes of 1648. Henry Lawes * dedication of the latter work to Charles I, when the King was already confined in Carisbrooke Castle, suggests that Sandys* versions were used at the Court and also gives a clue to an approximate composition date. In the opening statements of his dedi catory remarks, Henry says: I could not answer mine owne Conscience (most Gra cious Soveraigne) should I dedicate these Compositions to any but Your Majestie; they were born and nourish'd 353 in Your Majesties service, and long since design'd (such as they are) an Offering to Your Royall Hand. In the same paragraph Henry Lawes also refers to the King's "known particular affection to David * s Psalmes", which may well have inspired William and Henry's interest in psalm composition. The Choice Psalmes were in all probability favourites of the Chapel Royal and possibly of other pri vate chapels of the aristocracy. From Henry Lawes* opening statement it is evident that some years had passed between the actual composition of the psalms and their publication. But it is unlikely that they were set to music before their first appearance in print. Sandys himself had only returned from the crown colony of Virginia, where he was a member of the council, in 1631. William Lawes, as we know, did not become one of the King's private musicians until the year 1635, the very year that the poet's psalms were licensed for publi cation. Sandys * own work on the psalms was probably done between these years. Included in the 1648 publication also is at least one work by William Lawes which offers an additional clue. This is his beautiful elegy "On The Memory of My Friend; John Tomkins". The latter, a younger brother of the more famous Thomas Tomkins, was organist of the Chapel Royal. He died on September 27, 1638. This piece is written in the same general style of the psalms themselves and, from internal evidence, may be attributed 354 to the same period of composition. And further, in his valuable epistle To The Reader, Henry Lawes states that both his and his brother's psalms were composed "at the same time" and were "of the same kinde". But earlier he says that the compositions were "set at several times, and upon severall Occasions". What appears to be a contra diction is merely a reference to the fact that both William and Henry worked together in supplying music for the King's Chapel when the occasion demanded. Considering the evidence it is reasonably safe to conclude that the Choice Psalmes were composed some time between the years 1636-9. The author believes them to have been written mainly during the period 1637-8, when the playhouses were closed because of the plague and King Charles is known to have sou^t solace as well as entertainment in his Chapel. Although Henry Lawes refers to the contents of the Choice Psalmes as the work of George Sandys, a closer ex amination shows that this is not entirely so. Only forty- three of the seventy compositions in the volume,(seventy- eight, including the elegies "set in Musick by sev'rall Friends, upon the death of William Lawes”).,are paraphrases by this poet. Moreover, even these are not all from the Book of Psalms. Nos. 5, 6, and 7 of William's collection are Sandys' paraphrases of three eight-line segments from The Lamentations of Jeremiah. No. 16 is the beginning of 355 Sandys' paraphrase of Isaiah, xxxviii. In reality, there fore, only 18 of Sandys' psalm paraphrases set by William Lawes were included in the Choice Psalmes. These, added to the four works just mentioned, bring the total of Sandys' paraphrases used by William to twenty-two. Of the remaining eight pieces by the younger Lawes^(excluding the canons and the elegy for John Tomkins), four are to Latin texts, including a Gloria Patri, and four are Old Trans lations.^ None of William Lawes ' pieces in the Choice Psalmes are King James' authorized versions or metrical paraphrases from the psalters of Stemhold and Hopkins. Henry Lawes' dedication and introduction to the Choice Psalmes have already been quoted extensively in 2 Chapter I. It is important, however, to restate the fact that the publication was conceived primarily as a memorial to his brother. It was with this thou^t in mind that Henry Lawes included in the publication several of William's religious canons in three and four parts and eight elegies mourning the young composer's death written by many of the foremost English musicians of the age, including John Jenkins, John Wilson, Simon Ives, John Hilton, and others. Indeed, the Choice Psalmes remain, as ^The pieces employing Old Translations are No. 13 (Psalm CXXXIII); No. 14 (Psalm CXLIX) ; No. 15 (Psalm VI); and No. 17 (Psalm XIII). 2por the complete dedication and introduction see Chapter I, pp. 41-43. 356 Henry intended that they should, "but a small testimony of his I^William's] greater Compositions, (too voluminous for the Presse)". The publication is also a lasting tri bute of the older man's undying love, devotion, and admir ation for his brother. The style of William Lawes' pieces in the Choice Psalmes in many ways resembles that of the late English madrigal. There is the same emphasis on horizontal and vertical "word-painting", the same preoccupation with affective melody and the employment of the dissonant, chro matic style of the late Renaissance. One still finds, in Lawes' psalms, the employment of fu&ato imitations. It is evident too that the composer deliberately chose those psalm texts which offered the best opportunity to exploit these techniques to the fullest possible extent, especially psalms portraying grief, mourning, lamentation and such like. But Lawes has also set a number of psalms in which the theme is rejoicing and praise. These are in a pure, solid block style. The setting of Psalm CL, e.g., is jubilant in its praise and exaltation and has an almost heroic quality. The text is Sandys': see page 357. But this exalted style is in contrast to the composer's writing in a less joyful vein. Thus, when Lawes sets music to one of his favourite religious texts. The Lamen tations of Jeremiah, the tears flow in endless descending 357 Ex. 34 P salm CL: P raise The Lord Enthron’ d on High (opening section) a 3 voc. h ig h , thron’ d P raise th e Lord en - on Praise th e Lord on h ig h , thron’ d en - thron’ d on h ig h , Praise th e Lord en - Thorough B ass praise him in h is p raise him for h is sane - ti -ty : p raise him for h is sane - ti- ty : praise p ra ise him for his praise him in h is ^ - - - 358 chromatic streaMets until finally absorbed by one of the composeras characteristically dissonant cadences, as in this striking illustration from the second part of Chapter I of Sandys* text. Ex. 35 Lamentations of Jerem iah Chapt. 1. (second p a r t) ; Judah in Exile Wanders from Choice P salm s 1648 (concluding sectio n ) a 3 voc I W — f - - -f- r A Her : :: Vir - gins weep, ------------- Her vir - g in s - o -------------- f ^ T horough B ass Her 9 Vir - - g in s her w eep, Vir - g in s w eep. her Vir - gins w eep,. her Vir 6 her weep,. - g in s w eep,. P rie sts her m la - ? P riests la - m ent ¥ m ent h er her fa ll,. $ her P riests la - m ent, her P rie sts _______ la 6 6 7 6 6 359 fall P riests la her m ent her Priests la her her m ent P rie s ts la - m ent, her m ent her and all sw eets vert con a ll her fall and a ll her con - vert sw eets gall a n d all h e r sw e e ts gall sw eets con - vert a ll her g a ll a n d all g a ll. vert con g all. v e rt con gall. vert sw e e ts 360 Four of Lawes* psalm settings in the Choice Psalmes are important historically as some of the earliest ex amples of a practice usually associated with Restoration times, a practice which eventually led, through Henry Pur cell among others, to one of our great musical treasures, George Frederic Handel* s immortal "Hallelujah Chorus'*, The practice of extending the Hallelujah to a florid chorus in the Hallelujah Psalms, especially ^en these were used as texts for anthems, is a fairly commonplace of the period following the Commonwealth, but its employment in Caroline times is less known. Lawes* examples are therefore es pecially interesting in tracing the development of this form. The four psalms which have hallelujah choruses appended are No. 9 (Psalm CL), No. 14 (Psalm CXLIX), No. 25 (Psalm CXVII) and No. 29 ("In Resurectione tua Domine"). A fine illustration is the hallelujah chorus from Psalm CXLIX, "0 Sing Unto The Lord a New Song" (see pp. 361-2). Another interesting feature of the psalms is their setting, for two trebles, bass, and thorough-bass.^ Here again is the familiar arrangement of the Baroque trio so nata employed for voices. We leam more about the setting of these psalms from the title page of the second edition of William Child*s similar collection. The First Set of Psalmes of III Voyces (1650), in ^ich Child*s psalms are ^Only the four pieces in Latin are for alto, tenor and bass voices. Ex. 36 361 H allelujah C h o ru s from Psalm CXLIX 'O Sing Unto The Lord a New Song" (conclusion) A__________■ a 3 voc. Hal lu - iah, Hal - le - lu - iah Hal Thorough Bass Hal A -lu - iah, Hal- le - Hal l u - iah , H a l - le Hal Hal - - le - lu ^ iah, Hal - le lu - iah. - lu - iah , =J= à Hal - - lu - iah , Hal le - lu - iah, Hal - le - Hal le - lu - iah, Hal lu - iah 362 HaU le- lu-iah, H al-le - lu - iah Hal - le - Hal - le - - iah, Hal Hal- le - lu - iah , Hal - le - - l u - iah . Hal - le - Hal - le - lu - iah, Hal- le lu - iah Hal Hal - le - lu - iah, Hal - le - lu - Iah, H al- le Hal - le - lu - iah, Hal - iah. -lu - iah Hal - iah. lu - Iah. 363k described as "Fitt for private Chappels or other private meetings with a continuall Base either for the Organ or Theorbo newly composed after the Italian way". From this we conclude that the Lawes brothers* psalms, which are of the same kind, were written for private devotional singing, that the indicated thorough-bass was meant for either an organ or a theorbo, and the the voicing imitated the new Italian trio settings which were more harmonically conceived Both collections are strongly secular in character and demonstrate the influence of instrumental music on the sacred vocal works of the day. This secular influence is felt not only from instrumental music but from the madrigal and secular song as well. Hence the employment of word- painting, declamation, and dissonant chromaticism. These are the same influences which one still finds, for example, in the religious music of Henry Purcell. Fortunately, Henry Lawes has included in the thorou^ bass part-book of the Choice Psalmes the figures for the realization of the thorough-bass of William's pieces as well, as his own.^ The thorough-bass parts provide a key to the thor ough-bass realizations of pre-Commonwealth times. The ]-The Choice Psalmes were printed in parts only. Seven of thepsalms, in full score, are evidently in Charles Burney's handwriting in the British Museum, Add. 11587. A marginal note at the head of one of these states "the best died first". 364 figuring is rudimentary and sparse. By a few simple rules the largest part of the realization was accounted for. These rules specified the type of intervals which might be set above a given bass note or progression. When notes appeared unfigured they usually signified root position chords within the key, with certain exceptions for the chords of the leading note, mediant and submediant. Spe cial rules existed also for cadences. The choice of in tervals to be set above a given bass note was largely de pendent upon the movement of the bass line to and from that note. This gave rise to certain stock progressions which the player immediately recognized by the motion of the bass and which therefore need not be figured. Thus, the common progression of chords frequently employed by Lawes, moving by alternate root position and first inver sion, was known as progressing from "fifts to sixts" and occurred in passages of ascending or descending scale lines. On p. 363 is an example of this practice from a chorus in one of Lawes* verse-anthems "to the comon tunes". Recognized dissonant combinations received similar treat ment. All of these rules for setting intervals, or chords, to an unfigured bass line were learned by the thorough-bass player as part and parcel of his musical education. Con sequently, few figures were necessary, and these only at points where unusual combinations, dissonances or arbitrary 365 Ex. 37 Example of " f ifts to sixts" from th e Verse Anthem "Cast Mee Not Lord, Out from Thy Face','(Psalm LI, part 2) by W illiam Lawes. , , J J J Build up T h y w alls, b u ild up Thy— J Al Thorough up Thy w alls, build up s till. love, and love and love. w alls, and love and Thy w a l l s and love,. choices were desired or possible. The earliest extant English treatise upon the art of playing from a figured thorough-bass was written in 1673 by Matthew Locke. It is entitled Melothesia Or Certain General Rules for Playing upon a Continued-Bass.^ Locke*s rules are virtually the same as those used by Henry Lawes in the Choice Psalmes > but the latter in some cases uses figures which would have been omitted by Locke, and in others he is not at all consistent in his numbers. Tonic six-four cadences, for example, are sometimes entirely without figures, sometimes they are indicated by 643, and at others by 65. It is typical of the figures of this tLocke*s treatise may be seen in F. T. Arnold, The Art of Accompaniment from a Thorough-Bass (London: Oxford University tress, 193TTrpp.”IW-6f7 ---- 366 period that only one horizontal set of numbering was used. None of the figuring in the Choice Psalmes employs a double row of numbers. In all cases the thorough-bass doubles the lowest bass voice and fills in the true bass when the latter has pauses. In this respect it is a continue rather than a basso seguente, in the sense that the seguen- te type always extracted the lowest bass from the other voices only, whereas the continue would supply the missing bass notes during the pauses.^ Realizations of the thor ough-bass on the organ were kept fairly simple with usually one or two harmonies to the bar. When performed by the theorbo they were even more sparse because of the increased difficulty of performing chords on that instrument. The religious canons and rounds which are appended to the thorough-bass part of the Choice Psalmes are fine works and pleasant to sing. The title-page of the publi cation states that there are nine of these, but there are in reality ten. Henry Lawes may simply have counted the two short canons entitled **Regi, Regis, Regum** as one piece. In his religious canons William once again proves himself an inspired melodist. This is evident, for example, in the beautiful * * Gloria in Excel sis Deo. A Canon of 3 Voc. in the 5th above and 4th below**, which John Hilton used to introduce the second part of Catch that Catch Can ^Arnold, op. cit., p. 899. 36 7 (1652) Ex. 38 G loria in E xcelsis Deo (excerpt) A Canon of 3 Voc. in th e 5 th above and 4 th below A-------- # i Glo Glo - ria in ex- ria in e x cel - sis cel - s is De - o i ___ CL. O De - o — g l o - . glo - ria in ex - Glo - ria in ex- - ria in e x - cel - - sis cel - - s is De - o De- - cel - s is De - o _ -y— w~ glo - - ria in e x - cel- Two of the canons in the Choice Psalmes fit into the cate gory of religious rounds. These are both exquisite pieces. The first, ”Jesus is Harmonius”, is for three voices and is characterized by profound emotional power and depth. The second canon, ’ *She Weepeth Sore in the Night", is for four voices and employs selected verses from the second paragraph of one of Lawes* favourite texts. The Lamentations of Jeremiah. This canon was extremely popular in its day and has indeed weathered the test of three centuries, for 368 it Is still sung today. The melody is among Lawes* finest and has a continuous flow seldom found in the rounds » can ons and catches of the period. The harmonies produce a long line of contrary motion between the upper three and the lowest parts. The mood of the text finds realistic expression in the opening descending chromatic line, a technique which is characteristic of Lawes at the mere mention of tears, weeping, lamentation, etc.: Ex. 39 She W eepeth S ore a 4 voc. 4. g A She f i " tears É her weep Z#_ eth are on Vir - - g in s all her lev - e rs shee sore in the her cheeks are a - nig h t. her ¥ f l i c t - ed — Û___________ a n d a and her P riests sigh _ mong h a t h none to com - fort her. 36ST It is difficult to single out a few of these canons with out mentioning them all. Suffice it to draw attention to "These Salt Rivers", "Lord, Thou Hast Been Favourable", and "Why Weep - st Thou, Mary?" All are to be found in the Choice Psalmes or in Lawes* autograph in the Bodleian Library, Mus. Sch. B.2. In the Christ Church Library at Oxford is yet an other of those unexplored manuscripts which are of unique significance to this study. This is MS. Ch. Ch. 768-70, which for some reason has never received any notice except for a few scant references in catalogues and dictionaries of music. The manuscript consists of three small part- books: a countertenor, a tenor and a bass, loosely bound together in a cardboard cover. The title reads 3 Bookes— Mr. Will Lawes his Psalmes— for JL, 2 A 2 parCes, to the comon tunes. E. L. The initials E. L. are those of Edward Lowe and the manuscript is apparently in his handwriting. Lowe, who became organist at Christ Church in 1630 and was later one of the organists of the Chapel Royal, as well as Professor of Music at Oxford, is credited with copying much pre-Restoration music and with preserving the manuscripts at Christ Church. He died in 1682. From evidence provided by the watermarks, this particular manu script would seem to have been copied c. 1670. The title of the manuscript is misleading since one might easily conclude from it that the contents con- 370 sisted of part settings of the psalms in \diich the common tunes serve as canti fermi, such as those of the Ravens- croft psalter of 1621. The manuscript, however, contains twelve large verse anthems which are singular in the liter ature of music for religious devotion, and are important stepping-stones in the development of the English anthem. The most original feature of these anthems is the fact that the proper tunes are sung either by the congregation or the choir or both^(it has not been determined which), accom panied by a thorough-bass for the organ, and in between the composed, declamatory verses of the soloists. Perhaps the best description of the plan of one of these verse anthems can be shown by taking an actual case in point. By way of illustration, therefore, the formal scheme of Lawes* setting of the whole of Psalm XXII is listed over leaf (Ex. 40). A comparison of this plan with those of the other verse anthems of the set reveals that each work is con structed individually, there being no recurring pattern for the common tune or the various solos, duets and trios. Certain principles, however, are apparent. The foremost of these is the principle of variety. Each verse, or pair of verses, is varied in the texture by the ordering of the solos, duets and trios, interspersed here and there with the entrance of the congregation or choir ^ich sings the 371; Ex. 40 PART I Verses 1 and 2: common tune (sung by congregation and/or choir) Verse 1: countertenor solo. Verse 2: a 2 voc., countertenor and tenor. Verses 3 and 4: common tune. Verse 5: countertenor solo. Verse 6: tenor solo. Verses 7 and 8: a 2 voc., countertenor and tenor. Verses 9 and 10: common tune. PART 2 Verses 11 and 12: countertenor solo. Verse 13: bass solo. Verse 14: a 3 voc., countertenor, tenor and bass. Verse 15: tenor solo. Verse 16: countertenor solo. Verses 17 and 18: a 2 voc., tenor and bass. Verses 19 and 20: common tune. Verses 21 and 22: (These are not included in the manu script. They may also have been sung to the common tune by the congregation or choir.) PART 3 Verse 23: bass solo. Verse 24: countertenor solo. Verses 25 and 26: a 2 voc., countertenor and bass. 37 2: Verses 27 and 28: common tune. Verses 29 and 30: a 3 voc., countertenor, tenor and bass. Verse 31: common tune. FINIS simple church tunes. Moreover, the latter are concentrated at the beginning and the end of the work for added strength at these points. The common tune, for instance, is left out of the second part of the anthem until the final verses and then returns twice more in the third part for an effec tive conclusion. Each of the anthems closes in this mannei; with the final verse or two sung by the choir or congrega tion. The possibility of these common tunes having been meant for the congregation itself is indeed exciting. The practice of a responsorial between soloists and the congre gation is, to the best of the present writer’s knowledge, unknown in the history of the English anthem. However, a precedent is established in an account of a similar practice by Thomas Mace. Reporting of his presence in a Cathedral during the Siege of York in 1644, he speaks of a Cathedral Service: . . . wheme was heard (I believe) the most remark able, and most excellent singing of Psalms, that has been known or remembered any where in These our latter Ages . . . they hadthen a Custom in that Church, (^ich I hear not of in any other IGathedral, which was) 37à that always before the Sermon, the whole Congregation sang a Psalm, together with the Quire and the Organ."" . . . This Organ . . . being let out, into all its Fulness of Stops, together with the Quire, began the fsiisr:--------- But when that Vast-Conchording-Unity of the whole Congregational-chorus, came (as I may say) Thundering in, . 7 . it made the very Ground shake under us.l Granted that Mace’s account does not include soloists, yet the idea of a responsorial involving the congregation is worth noting. In the Christ Church manuscript all of the parts to the verse anthems have the thorough-bass written out with the music. It is unfigured. The common tunes, with what is apparently William Lawes’ own unfigured bass line for organ, are written out in the bass part-book only, and before each work. The verses to be sung by the choir or congregation are indicated in all three parts by the words ’ ’comon tune’’ and the incipits to the desired verses. The soloists were thereby advised which verses were to be sung to the common tunes by the choir or congregation. The indication ’ ’Cho: ’’ , signifying ’’chorus’ ’ or ’’choir’ ’, precedes the incipits of the common tunes. The texts of the psalms used in these verse anthems are from the old version found in the Stemhold and Hopkins psalters. But not all of the anthems employ the texts of psalms. Three are spiritual songs from the psalter. They iThomas Mace, Musick’ s Monument (London: P. Rat cliff e Thompson, 1676), pp. 18-19. 37^ are "The Lamentation of A Sinner", "The Humble Suite of A Sinner", and the Lamentation ("0 Lord in Yee Is All My Trust"). As for the common tunes themselves, they vary a bit from those in the psalters of the period. Two are tunes not even associated with the psalms to ^which Lawes has set them. They are the "Windsor Tune" which is usually employed for Psalm CXVI and which Lawes uses for Psalm VI; and the "second tune" of Psalm XIV which Lawes has fitted to Psalm XXII.^ Lawes’ settings of the common tunes are interesting in themselves, since his thorough-bass lines are sometimes a bit daring for ordinary church use. In deed, they would have been acceptable only in places of private devotion--the chapels of the nobility or the King’s ] own Chapel Royal. But it is the musical style of the verses for the soloists vdiich are of the greatest interest. If secular influence has been detected in Lawes’ religious music up to this point, then the present collection is the capstone of the practice. The verses for solo voice, duets or trios follow the same general style as Lawes’ secular declamatory songs, dialogues and songs for three voices. Only the ballad style is conspicuous by its absence. In the verses, therefore, we find the same slavish representation of words in music as we did in the declamatory songs. In fact, its ^Both of these tunes may be seen under their respec tive psalms in Maurice Frost, English and Scottish Psalm and_Hymn„Tunes (London: Oxford University^Press, L953). 375 employment in the verse anthems appears more rudimentary, even crude, so much so that one cannot help but feel a touch of humour in some passages, a humour which was not at all intended. A good illustration of this occurs in the verse anthem based upon the text of the eighteenth psalm at the bass solo for verses nine and ten. It is printed in Ex. 41, pp. 376-78, with its chorus for three voices. But this, after all, is the same practice which runs on through all of the later music of the Restoration and is nowhere more evident than, for example, in the church music of Henry Purcell. These verse anthems "to the comon tunes" were prob ably ear&y works, written during Lawes* employment at the estate of the Earl of Hertford, or in the service of some other patron before he received his appointment at Court. There is, however, no positive proof of this. The rudimen tary character of the declamation has already been singled out, and indeed it may be used as one argument. The present writer, therefore, trieddto get some further indication of the date of the collection by comparing Lawes * variants of the common tunes with the many editions of old version psalters of the period. Exact variants were not found, but the closes similarity seems to be with those in psalters dating from before 1631. This bringsup another argument Ex. 41 P sa lm XVIII ( p a r t 1) "O God My Strength" B ass Sole: V erses 9 and 10 "The Lord d e sc e n d e d B ass The Lord ded seen C ontinue Thorough Bass heav - e n s hig h from a - bove and bow - ed ye un - d er-n eath h is fe e te hee c a st ye dark - n e ss of skye On ch e r-u b and on c h e r- u b - xr and on ye w inges of full Roy- all - ty hee rode, - in -&■ m m all ye w indes inge, came fly - cam e fly - fly - - m ge, cam e mge a ll broad a 3 voc. C ounter tenor w indes -m- Tenor w in d es B ass w indes cam e Continue fly - - inge all came - inge fly - all cam e inge all broad came 378 cam e fly - inge - broad, all a - broad, - broad, fly - - Inge broad, came cam e came fly - inge a ll a - b r o a d , cam e fly - inge all broad, all broad, cam e inge all broad, cam e f ly - b ro a d . inge a ll broad. cam e fly - broad, cam e fly - inge all broad. TX : — : 379) lAich may be advanced towards an early composition date. It was in 1631 that the first edition of Sir William Alex ander* s version of James I*s own translation of the psalms was published. Charles I ardently strove to have his father's psalms supplant all others, both the old and the authorized versions, in private as well as public worship. In 1634 he enjoined the Privy Council of Scotland "that no other Psalmes of any edition whatsoever be either print ed heirefter within that our Kingdome or imported thi ther" .^ As Charles* efforts were of no avail, he had Alexander revise the first edition and a new one was issued in 1636 and bound into Archbishop Laud's Service Book as the official psalter of England as well as Scotland. The people, however, seizing the opportunity to show the King their displeasure of him and his demands, avoided the use of the edition; and although Charles insisted on their use until his dying day the psalm paraphrases of King James I were destined for obscurity. It would seem that one who was as ardent a supporter of the King as William Lawes would not have set the Sternhold and Hopkins versions of the psalms in defiance of his Sovereign's wishes to the contrary. Taking these several factors into consideration, the date advanced for the collection by the present writer ^Philip Von Rohr-Sauer, English Metrical Psalms from 1600-1660 (Inaugural Dissertation at Freiburg: T938), pp. 44-61 3 # is before 1631. It is the largest single collection of verse anthems dating from before the Restoration and may well have influenced the later development of the form. The collection in Christ Church apparently did not contain all of the verse anthems composed by William Lawes. The words of two others, unfortunately without the music, are extant in a manuscript in the British Museum, Harleian 6346. This volume is from the reign of Charles II and bears the inscription, "The Anthems Used in the King's Chapel". The first of Lawes' anthem in this manuscript is set to Psalm XC and is entitled "An Antheme with verses for Cornetts & Sagbutts". It is the only indication we have that William Lawes ever composed music for wind instru ments. It is unfortunate indeed that the music has not survived. The second anthem in the Harleian manuscript utilizes the texts of selected paragraphs from chapters three and four of The Song of Solomon and begins, "Who is this that Cometh out of the Wildemesse". Still another anthem, this one for a solo bass voice with thorough-bass in the style of the Christ Church anthems, but without the common tunes, is extant in both the British Museum and in the library at Christ Church. It is set to Psalm LXVm, "Let God Arise". The last of the extant verse anthems and certainly the best known is that vAiich Lawes set to Psalm XXVII, "The 381 Lord Is My Light". It is mentioned in Walker-Westrup*s History of Music in England as the best example of Angli can service music produced during the reign of Charles I.^ William Boyce included this one in his collection. Cathed ral Music, which was compiled between 1760-78, and it is chiefly due to his efforts that this anthem too was not relegated to gather dust in the archives of some library. Boyce, however, in his zeal to make the anthem conform to eighteenth-century standards, edited out of the work much of the dissonant harmonies and even altered the melody and rhythm wherever he thou^t necessary. If we judge by the arrangement of the text and the entrance of the choruses, "The Lord Is My Light" is the same type of verse anthem intended for the two pieces without music in Harleian 6346. This suggests that Lawes may have composed other anthems of this kind, and it sup ports my claim that an autograph volume of the composer's religious music did exist, or is still missing. The style of "The Lord Is My Light" is not the same as in the verse anthems "to the comon tunes". It is less secular in its techniques and seems to have been designed for public wor ship rather than for private devotion. It is not written in the massive style of the earlier generation but it ^Ernest Walker, A History of Music in England, 3rd ed., revised and enlarged by J. A. WestrupTl^Lonaon: Ox ford University Press, 1952), p. 156. 382, nevertheless follows the imitative style, which is more closely allied to the Choice Psalmes than to the "comon tune" collection. Considering William Lawes' religious music as a whole, we have one of the most valuable collections of seventeenth-century English church music and certainly one of the earliest to be written under the strong secular influences of the times. Although, in the present chapter, attention has been focused primarily upon the purely "in» teresting" features of this music from a historian's viewpoint, the author wishes to recommend it, or at least a good share of it, as music worthy of performance. No doubt church musicians will soon discover this for them selves . CONCLUSION William Lawes was a true representative of the seventeenth-century Baroque. His music establishes him as a leading figure in the acceptance and development of new styles and techniques in England. He was an artist who worked in advance of his times. Versatile, prolific and highly original, he must be considered a major composer of the first half of the seventeenth century— one of the great figures of English music. Many of the forms and techniques which Lawes used can be traced to his teacher, Giovanni Coperario, and to Alfonso Ferrabosco II. These, in turn, may be seen in their final development in the works of Henry Purcell. Lawes, in fact, stands midway between the earlier gener ation of Byrd, Morley, Ferrabosco, and Coperario, and that of Purcell. The latter knew of Lawes' work and could not have escaped his influence. In this respect, there is the "possibility" that much of Purcell's work may actually show "traces" of English influence. It has become only too common, of late, to attribute, indiscriminantly, all English musical forms, styles and techniques of the late seventeenth century to foreign influence. An examination of Lawes' music alone proves that it was the era preceding the Commonwealth which experimented with, and founded, the forms and techniques which Restoration composers later 383 384 developed and extended. Indéed, much of that vAiich has so eagerly been labelled Italian or French in England during the latter half of the century can be found in its embry onic and adolescent stages in the neglected manuscripts of Jacobean and Caroline times. If extensive foreign in fluence is to be found it must certainly be sought after at an earlier date. This is not to say that Italian and French influence had no effect in England during the seventeenth century, for they most certainly did. A re ciprocal stream of influences continually crossed and re crossed the Channel throughout the century. And yet, one should not overlook the dominant position of a strong English musical tradition, an aspect which has, unfor tunately, been all too trodden under in the quest for spectacular outside influences. The subject is still an open one and only further research can hope to complete the picture. It was not my aim to go into extended and detailed comparisons between Lawes* music and that of his contempo raries. I wanted to focus attention upon Lawes * works only. It is to be hoped that more of these individual and detailed studies will be undertaken in the future. Only after these have been completed, upon such men as Ferra bosco, Coperario, Jenkins, Locke, Simpson, and others, will it be possible to arrive at accurate conclusions, and 385 to assign to each composer of the period his proper due. APPENDIX A APPENDIX A Extracts Concerning Rules for Division Playing from Christo pher Simpson's The Bivision-Viol (London: 1667 ed.). 12. Concerning ordering of Division: When you are to Play Division to a Ground, I would have you, in the first place, to Play over the Ground it Self, plainly and distinctly; for these reasonsl 1. That others may hear what Notes you divide upon. 2, That your self may be better possessed of the Ayre of the Ground, in case you know it not before. 3. That he who Plays the Ground unto you may better perceive the Measure of Time. The Ground being Played over, you may then break it into Crotchets and Quavers ; or Play some neat peece of slow Descant to it, which you please. If your Ground con sist of two or three Strains, you may do by the second or third, as you did by the first. This done, and your Ground beginning over again, you may then break it into Division of a quicker motion, driving on some Point or Points as hath been shewed. When you have prosecuted that manner of Play so long as you think fitting, and shewed some command of Hand; you may then fall off to slower Descant or Binding- Notes, as you see cause; Playing also sometimes loud or soft, to express Humour and draw on Attention. After this you may begin to Play some Skipping Di- vision; or Points, or Tripla*s, or what your present fancy or invention shall prompt you to, changing still from one variety to another; for variety it is which chiefly plea- seth: The best Division in the world, still continued, would become tedious to the Hearer; and therefore you must so place and dispose your Division, that the change of it from one kind to another may still beget a new attention: And this is generally to be observed, whether your Ground consist of one or more Strains, or to be a Continued Ground; . . . 13. Of a Continued Ground: A Continued Ground used for Playing or Making Di- vision upon, is (comonly) the Through-Bass of some Motet 387 388 or Madrigal, proposed or selected for that purpose. This, after you have played two or three Semibreves of it plain, to let the Organist know your measure; you may begin to divide, according to your fancy or the former Instruction, until you come near some Cadence or Close, where I would have you shew some Agility of Hand. There, if you please, you may rest a Minim, two or three, letting him that Plays the Ground go on: and then come in with some Point : after which you may fall to Descant, Mixt Division, Tripla* s, or what you please. In this manner. Playing sometimes swift Notes, sometimes slow; changing from This or that sort of Division, as may best produce Variety you may carry on the rest ofthe Ground; and if you have anything more excellent than other, reserve it for the Conclusion. 14. Of Composing Division for one Viol to a Ground: When you compose Division to a Ground, endeavour to make it easie for the Hand: for, of things equally ex cellent as to Musick, That is always to be preferred, which is more easie to be performed. Hence we may conclude, that no man is fit to Compose Division to a Ground (how great a Master in Musick soever he be) unless he know the neck of the Instrument, and the Method of Fingering be longing unto it. This is all I have to say concerning Division for one Viol; more than that I would have you peruse the Di visions which other men have made upon Grounds ; as those of Mr. Henry Butler, Mr. Daniel Norcome, and divers other excellent men of this our kation, who (hitherto) have had the preheminence for this particular Instrument ; observing and noting in their Divisions, what you find best worthy to be imitated. 15. Of two Viols Playing together ex tempore to a a M M M M V W W — I I — IIM ■■ I ■ I ■■II— %ound: After this Discourse of Division for One Viol, I suppose it will not be unseasonable to speak something of Two Viols Playing together upon a Ground; in which kind of Musick,Î have had some experimental knowledg; and there fore will deliver it in such order and manner as I have known the practice of it; referring the Improvement there of to further experience. First, let the Ground be prick'd down in three severall Papers; One for him xdio Plays upon the Organ or Harpsechord: the other two for) them that Play upon the 389 two Viols; which, for order and brevity, we will distin- guish by three Letters; viz. A for Organist, B. for the First Bass, and C. for the second. Each of these having the same Ground before him, they may all three begin together; A. and B. Playing the Ground, and C. Descanting to it, in slow Notes, or such as may sute the beginning of the Musick: This done, let C. Play ghe Ground and B. Descant to it, as the other had hone before, but with some little variation. If the Ground consist of two Strains, the like may be done in the second: One Violl still Playing the Ground whilest the other Des cants or DividdI upon it. The Ground thus Play'd over, C. may begin again, add Play a Strain of quicker Division; which ended, let B. an swer the same with another something like it, but of”a little more lofty Ayre: for the better performance where of, if there be any difference in the Hands or Inventions, I would have the better Invention lead, but the more Able Hand still follow, that the Musick may not seem to flaccess or lessen, but rather increase in the performance. When the Viols have thus (as it were) Vied and Re vied one to the other, A. if he have ability of Hand, may, upon a sign given him, put in his Strain of Division; the two Viols Playing one of them the Ground, and the other slow Descant to it. A. having finished his Strain, a reply thereto may be made, first by one Viol, and then by the other. Having answered one another in that same manner so long as they think fit, the two Viols may divide a Strain Both together. In which doing, let B. break the Ground, by moving into the Octave upward or downward, and returning from thence either to his own Note, or to meet the next Note in the Unispn or Octave. By this means, C. knowing B's motion, he knows also how to avoyd running into the same, and therefore will move into the Third or Fifth (or Sixth where it is required) meeting each succeeding Note in some one of the said Concords, until he come to the Close; where he may (after he has divided the Binding) meet the Close Note in the Octave; which Directions well observed, two Violls may move in Extemporary Division a whole Strain together, without any remarkable clashing in the Consecution of Fifths or Eighths. When they have proceeded thus far; C. may begin some Point of Division, of the length of a Breve or Semi breve , naming the said word, that B. may know his inten tions: which ended, let B. answer the same upon the suc ceeding Note or Notes to the like quantity of Time; taking it in that manner, one after another, so long as they please. This done, they may betake themselves to some 390 other Point of a different length, which will produce a new variety. The contest in Breves, Semibreves, or Minims being ended, they may give the Signe to A. if (as I said) he have the ability of Hand, that he may begin his Point, as they had done one to another; which Point may be answered by the Viols, either singly or joyntly; if joyntly, it must be done according to the former instructions of Di viding together; Playing still slow Notes and soft, whilest the Organist Divides; for that Part which Divides should always be heard lowdest. When this is done, both Viols may Play another Strain together, either in quick or slow Notes, which they please; and if the Musick be not yet spun out to a suffi cient length, they may begin to Play Tripla* s and Propor tions, answering each other in whole Strains or parcels; and after that, joyn together in a Thundering Strain of Quick Division; with which they may conclude; or else with a Strain of slow and sweet Notes, according as may best sute the circumstance of time and place. I have known this kind of Extemporary Musick, some times (When it was performed by Hands accustomed to Play together) pass off with greater applause, than those Di visions which had been most studiously composed. 16. Of Composing Divisions of Two or Three Parts; In Composing Division for two Bass Viols, you may follow the forementioned method, making sometimes This, sometimes That Part move above or below: Sometimes an swering one the other in Points joyned together in Di vision; sometimes in slow, sometimes in quick Motions, such as may best produce Variety; but after their answering one another in Points, I would always have them joyn to gether in some lofty Strain of Division, with which, or with some slow and pleasing Descant you may Conclude your Composition. If you make Division for two Trebles, both must be in the way of Descant to the Ground:" Èo, that (the Ground considered) the Composition is Three distinct Parts. When the Trebles move together, their most natural passage is in Thirds one to the other; sometimes in Sixths or a mix- ture with other Concords, but still such as have relation to the Ground. As for their answering one another in Points; their several Motions or Changes, in order to Va riety; the same is understood as of the former. In Composing for a Treble and Bass, you are to con sider the nature and compass ofeither Part, framing your 391 Division according thereunto; which in the higher Part will be Descant ; in the lower, a more frequent Breaking of the Ground. The same regard, to the nature of the Parts, must be had in Composing for two Trebles and a Bass, or for two Basses and one Treble. In Divisions madefor three Basses, every Viol acts the Treble, Bass or Inward Part by turns. But here you are to take notice, that Divisions of Three Parts, are not usually made upon Grounds ; but rather Compose in the manner of Fancies; beginning commonly with some Fuge, and then falling into Points of Division; answering one another; sometimes two against one, and sometimes all engaged at once in a contest of Division; but (after all) ending commonly in grave and harmonious Musick. Howbeit, if, after each Fancie there follow an Ayre (which will produce a pleasant Variety) the Basses of these consisting of two short Strains, differ not much from the nature of Grounds. These Ayres or Almains begin like other Consort Ayres ; after vdiich the Strains are repeated in divers Variations, one Part answering another, and sometimes joyning together in Division, as formerly men tion'd. APPENDIX B (0 XI PQ 5 I C O -g 4J C O S o < u a o « % u a a 13 •rl 44 2 § — a 60 • C O C O o iH S ' a 44 44 O I4 P O p C O O C O 43 X 1 - 5 1 1 1 d O W O 1 •H 44 o 13 •H rH C O 44 13 V i C O 0) * — 1 o O d O P 60 tüi e q 44 s < U : s d X rH < u O O 13 # iH X •H • » V I o O O 44 44 6 O •H U 44 o . 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P 1-i V . - . - F - \ . —ffPw r#tf- #— --i » - l f - ^--- n--: # — --- — &----- I v ^ ' b - js Tf# I f — r—- f 1 » 4JZ f- -# ff— Ti^-----— r i r r r f 5---- J -[~f* i w = k pt' ./' f r ..H ( 0 X E > n" ^5#--- — : # = # = O p Æt> J --1 # f # = s » ' * ' ,*.k. i , - j fr - —n-*Df 1 _*_*!.y.: = -t.u. r r r J W'^ ^ u -64n--.—f------ — 1 ------ i 1-J_jj__ -p=--- -J -6^— ^ = _J---jc_f # - - - W . h I T = N ---— -- ---#5 --- i ?=?!=* = i - t — — l i , rr r r Tf ■ f - / T ^ pa — — -^1— \Ik " 0 — . 0- • - — r-q '— — n . . pp— f0 m JT3J- f j H -----^ r pLi. -6# ^ r 4. i -*r— # f # - | T F -f— i — I ----- 1 - 4---- 1 hl J ) r r 4 - V :-- f 433 m 4J4 Saraband from "Harpe" Consort No. 4 in D Minor ( " O M y Clarissa") with "divisions Violin B ass Viol Theorbo Harp 435 m i i i ... -i' ^_ Ji r ^ p cf' M — *— p~(*~i ^ r f — p—f" — p # — j — y — r 1-4 / c > 1 ---- U?L r = 1 p f f M i 4 ^ - 4 - j ^ 1 1 = :9'1, ^ : J. r 1. . 1 - . r 1 p l i — f r f ~ i t>, p. — #-# --p — = #= p= f r # - T i ^ Zb=---- J p —' r r f 1 r r '= €/' < 7 - —--- J. — j --j-- L — J J J ‘ LIT-.. . _ J 1 r .'.4 r r r r ..- 1 436 # ' ' ' wufrrrr^ I T P — - - - - - - - - - ÿ - p - - - - - - - - ^ m ê ê m /-b ! — LI £p -t — -z4 r/^r = ^ - - t^ T - T w T - f I i rr P-- I # = k = W = ^ • - ■ I . / . . t ' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4 - - u - - r , — !t-.-f j ' 1 V W: .. . . . . . . . . . . . . . . . . . . . . . . . . i- - 1--1 --- J m - M B' p m k = # ç-r— # = f = M -f— #— p— J=ff|^- p ^ L L ~o r rp#— o -J-& ^ p i I # ! 1 = - 4 ^ = j^j— ] r : — 1 -- "r~rfr i ^ = r W = ^ f r# - N P W — A... ^ i j f _ - . ...^ T « I--- UL - j » — — - i A 437 3" #- 0 —*— 0— »— n»— r— f r A- --- f r T T'" ./ D r— i 4 ^ J 1 j, ,.,|j..„-j2_j m A- W _i— i 1 — J.... r 1 -r-— Ir r #r w — ^ 1 * > 1 * # . . rjttj- - > i 1 i ^ ü u ! t r -■ - -m--- ----- P r— f— o R«=(! - f i ) — -----LJ— ~~0--F— -- -0---n----- 1 --1 ---1 -- i J- ^ A.-...j- -J , ^ r ' r f > - f — c r f - — A"' - #p ( »(* — — — "-0- (T3..... . ^ W = 4 J -! L a _ 3 — — T ^ - - 6 ) : , g. p = = r r/1? ^ M = = f f f ^ = 4 ^ - # 1 :7-r-----r- n r r 11 f = -«d— T -f- - p= W: i. W 438 A"" ( T ) . ! ^ - m ♦ -# béVz^===è=4 eJ; pi> r r i [^ij r r r =f f~ ffi» - «?• - #*' I l — 1 — ^ i i j r- r ; ^— ü r i J3 j r f 1 ^-rJ— If '— - p- l- -1:"^ - . ~ ¥ f f f r f f ^ YTrf 1 a --^ -y Ü ^b 1 f ... Ü ..^ -f -f^r-j 1 —J-f-— # 1 % - f ! _________ A-. - 1 —1 —1 — a a a f -= r^ A-7rr.-rl — h- B'" rrrrrr rfr J *-- —nk— g|‘ LLIl W 11111.— -p---f— M" ^ -------- îàb -f - Tr-f ■ j » •. l . . J, . . | —| P ^ — ff4f j — 1 — U - F — b-i> F - J J bti= ..UF p. + : --- 1 --- 439 R & = r f f F e = I N 1 II itfj.f— gt-...... [ £ £ £ f ¥ r * J- ^ b f 6)., g. -d ------J— y b -f!-------- . 1'^ f---- p-=| a r - r F 1 \-d------LJ— r ~ M — w -— f— 1-— — h— - i -1— 1 — 1 — - J J. i _J_--- rT^'b p' ....... T — ^ l ^ _ _ j ? t P B " " l J 9 - frfrfr - - J r ^ b g m , L = i _ i — M - — : ■ ■ — au r p W i ■ w . é H - J. T — — p — -F r ^ -. w T ^ ij. J P P zJiA-J 440 S o n a ta No. 8 in D Major Fantazia Violin Bass # # ~ — j A---------- Viol ( 1 j i r i A M 1 1 1=1 Organ/ - 1 '^L----_---- 7 ^ --------- i -i f > - 1 -T-p-1 #-#--ÿ- -J "- r ' _— ---- Ô— : _ f f ' t r f r - r 6 ^ 4 ^ - 1 Go] m a r r ^ 441 /J i a s sgfa - J m ^ 20 ^ ---- f r f l 1 # r#— "#*_ -/Tn~- T =j i - L z : m - . - ,.. -0 h w -0 -'^ jjtm — f-- = N ^ W t : : z w w W J • 2 . 44Z i i ._ r r_?r --- . -Æ-e=-=---- — ^rf--- ----- ■ -:l ir T 3 r r r H r pi f> * * ' --t k % r L ^ 1 . — «L?--- f— ^ u i=y P P E - = S J— P— r ~ ■ r P' f j —% ---»' 1 # 1 * *— — L ..-1 — . V *• j*.. f -f- ..— =-----— # — r 1 ■ f" r t::-%L_=r E = N w r — 3 r - r r - r Att - :-E ^ r ^ _j»____ I "", ü f / 44J m g p g j r ^ i r 1 4 } : | L ..- - - - J - - - - — : - ^ k - | ' - " ' l ' I--1- - - - ^-1 -gL I* ^ ^ ^ - - J - - - - 1 ^ - : :- é 444 “"Tf #----— m m F — ------------- 1 r r r % 4 ï — t T u = — rrq ' r L z w — d r...'-- ^ T"f‘\ f f >----f f fr p. _ ^rTrr^'— r— • ^ r t T | I — r r f t ------------S — 1 - p 1 1 - rp»p-ppjT^ t t J J----- lA# - p mf _j^K.Ë-- - - rf * - i » ' rTf ...— ^S-i-b CITLh ËËs> [ 4 k r — ^--- . p ► j m » ~ r r r 1 --- ! - ^ -- ~ i J L 445 f r cr m FyF- m a m -c -F r J f w 446 m a 0 I? a6~iir-£jr ^ g l^ > -% r r f % r £££j At-... . n 44/ Ih * r r,., F^:.w ■PfRpfflJ a a ^ f----h t " 4 J f---- 1 — rf-tf ïfTf'.r% rff k ik W -4- ./-m --- BtSE Jjit» r p # . ■ , 1 1 ----1 pr--' u - 1 1 f A j Lsr r ^ 1 ' — ^ r ^ 1 JUjb ( # ) ?---- rnq==^ •f— Ah) " — #1 * «# 4 J — ^ I t- >rrrfff=ff # ■ y ^ tt — • # ..~Ear= - 1 ------^------ - + ----S S B .S [_c_^ p. . ^rrrirT i * ^ ■ » ■ * - V1-..-.y J 7 1 | I P F (ffT"\\\\'~ ---f f r #IP n c r r r e / f ^ . y . f _ ---- - i —3 - 4 , - 4 — 1 f U S -o^ — -f " _tt^L_J---- 5 ^ “ — p ' —p - I f- I p i 44» p L _ . dj W ; -1 ' -K-ÿf-f-L > S i # m / " --------- Af.f-=---- L-^--# %P* A P f r~ p - LU "---- lnJ;_J- J) UU±J m W \ih - ^ n ^ J9prr ( J - J") f-frHf- =] nr 'gwiZ p --S^L— : ---- (iê¥^ — -----------pfPf — --- -— 1 # ^ 1 - 6 ) . j j i J — i — E£y < - # y p ------- — — ^rf--- 1^ À’ --T----0 ^ f W = 4 — p-#— — f =f=T=i [f^-.-1 .^::L f---- 5 1 -f-i -f^ rw^lf Ip i > f ^ -1 ----- 4 = ^ J I i-f #" !' # 1 ^ M = = ^ h r .1 449 ; « tSb----- f— f ------ ■ 7 ^U 1 ----! — J^ttji F r f — -a-#- Le T-F-i r--* J g»" 1 r r w T - p . Lj— ^ rw‘ -- n*------ — ,i»f p ' f ^ SWn---- -m— j --- j- J7] | r m f f 1 i»|t j ^ ^ F W = ] - n U U a #J--y— m 1 — — 1 — N H j._ U ---- 1 w - r - — -4— - f ^ — ^ W m m i f 4DU S i — 0 - - - - 0— i*— W — & - - - - - - —[ )i^i»i* •--^— Ü— / —J - iS '. p- r r - F ~ T ~ 0— T~ I^ S g -J - - - jj- - W = | p r r J f f i ' m U p -■ J) ' F ' p -1 ^ r 1 — ÿ--f - T r iÊLf J f - - - - 1 l P " *- - - J - - J*"' — # 1 — U J — , ^ { # — 4. . ^ f^ - 1 f A r J r k-.~~ 1 0 0 f ' ' kW -p = - - - isS#— 1 —p-f-p—' r v P I T T ~ # f a ~ p g J r r t e ( A ; ] : 7 T i ■ i - i J 1 F - - - - - — - - - J— J— - - ^ - - t J _ _ - - J i- - f —- ^ - p ) T * - * r 451 A f i F = p j y t = = V----- 0 m ^ m ^ u . m Ur .I# ^ U il ^ p : f F U - #J «I" -f-Ff— ..-. 1 1 _f T r 1 -J - Ê . -- P rrr 1 0 ------- « T - h f r rfftf i i V T " ~ h p * f i " Q j w ] |LfcJ;j4=l r ' r r : 1^. ^ : r r - ^ ---p—1 A - = 1 r g l à 3 1 È — * - 1 #- .... - = : — ----- r^rrrrrr [ A r r f f - f J J 1 ■ ■ . ' l 4 j l j f j — .ilA 452 p r a » ri*> r#r F P T- A J . — -JM = Tjj: « Q J-1 L J — J— c J — pi J J-~ -| - r = T~— = 1 -- -V — 1 ---- 4^ A:: --- J — 1 2 o rrs:p% i? E £ ü ™ - « V tn --- '.. ■ • • - 1 r J 4%- A i j.-J i — -- «D-J--J— p ^ * p - tr -— ' F = ^£ïte=h=4=F= 4 — - C f I ■ lF - -f p r.r.r #- p L _ r ' Jj'Ïi M i H fTf iTni -A ë a ---- A lITl ^ ^ Jl-^d J J A r r r - f / ' LJ r T ^ f JIFJ— ;g CT' L W -# j : c g U iJjS ..... '•-'-----: ----------- L # M F f F f r r ■ r * . ■ » (» J u f y . ..... . : t f e r l f l t P — - ■ ■ ■ ■ ^ - * # - 4 " t f r = X T - ...^ f ■ J - - - I f " ' r r f^ 1 ■ f— rr Trr f 1 1 1 1 1'T'T’ frp-t~- -f ff: —— i i f i , . . 1 - r ' - = i r ,: r ^ -f— * f ■ * ' = ----: ------*-f— ; i t . -- : --- : --: --« — il% _f f f r r r r p f # ^ 1 : : 130 r-pz>ffl-Æ r J 1 p ” LdJ W trsW ^ T - -rrFI-ff JJ ♦ r = F 454 U lliu r t a ’ ^ f r r r i r 1 r 1 » 1 r 1 f r A f p , , if r — ( • — p — ^ — ------- ~r---—r— r — _— # --------- —------ A ? ■ J 1 r 1 T ] i n -J 1 ’ = ^ ^ 3 5|.. m 0 f T " 0 Ufit r R i i . J ^ ^ : = = ; = z ^ ^ r :- r P f f f=J i A r ^ 's k r p - - ^ ' 4Mr-i---- ^--- = ^ = p = — ■ ■ n J = J. J. J ............j. ■ ------- ijg»» ^ I — B = H _ _ v g fitt . ^ * J • d ^ - " £ L f- -J L êT ' j— -J--- -"-LJ---- ^ -0— ÿ —0------- m 455 140 456 A ire —--< 9 -- ------ ( 9— --- ---- - ---------r-------- T r r^tt J r> n p j -1 IjO:1 1 ii a ^ --W - o J J " lifta - — P- - - - —----p--- V — r ------j S > --- W - . . - " H - 1 -----1 »— #— —0------- ' [ if t a 1 « 9 -<5 > --- p o --- - o- - - - - - - r r ^ J — -— f i l r r r f 1 * - r j , F1 = g|:ttu , _ _ _ r r rrrr‘ ’ r = ? CP - j Mîifi- - - - f * T W ^ —-bz_ # -p «.- - -m - 1 1 H := :-L W : r ~ f r f f ^ r 45/ -#-----M ------ r --------------- |-^ ||-.= : ■ - .f ^ --------------- ----------j- * ■ ^ L T r — C J — — --------f --- jkuzÆ ^ . p : ± -J^l t j — w J : iz ^ iE z i ------------ - Æ J --------- -- # " J .. ^ . . . —^ --------y_jL l— F— j% l m m W » a # f n r r g r t t u = « 1 --- o n r j. J J A — J ---- l y v jj-j-z z J-i J - " J - 'J - J — | O ” n 4bô m Si. o \Ph r r f:==q . i- i f r r r f i r - i — — — - ■ L J J = ttJ r / % o--------:-- \^¥p^f==r] r — ^ f r r r mm > 1#—— «ffiM" I T O .ff . ^ r -------M »8- -.__ -j #3- -----------]ttii. J # w = r I f r r ^ 1 » —f— rP— — f — # — ~ P ---------- ~ P —P —f —f h * ~ . h J — * 1 — hj. J J .f] i ± - 1 =N J J J : J3 # ^ r f Cr t t " F —f—r— f ^ - r - p 1 * ^ p | g # P r - 460 Aire ----- 1 * " 1 r —---- — - | 9------- a - - f=n _p----- g—. S3 L ' 8 - - - ^ # -po fT IP * 1 " = J ----- T-# — . r ■ 1 r m f " o T p- n ^ t a% § :---= ^3 ^ ■ - --[ ^ Q P = w h -» c i l 1 ” T Ttt------- ---1 2 -—0 ----f O — n p ' o -------L -h f> -' J F- 1 1 ri \p ° 1 f - f f r i f ” r i l ’ ® - . ^ _|---:----- A' A h J . J A . A . A --P--P--rP—7 ^ ' — in — n ------ 1- „ - M f m—=--- • m~ ^ n j4 L z --Ï I --p-l -W-. A—&---- m i # = i ITl ~SA 'T1~ N p ---e ) — —— td J sx. # 1 * — * * # — 0------ -— ^ A AA ^ ^ — i^>t'iprrf f f ' p r - ^ --------------- * - ' .....' - - -^" ^ • . S u - - - _ ---- = — - 0 --------f2— / ^ f f ,. : .......■ - ~ & --- m - ^ --------- w — ------------------ ^ ---- :------ — J j ij ' r r r r k = N 40Z J. U à " r _< 2__ X # # # # # $ # « g l g p i = ^ r:zA M —(g ^ — P“ -7^— ------------------------------ I » I*- r ~ f ~ i f ^ 1 r. i/^lt 8 ■ * . 1 h f e = J — » — J J gi-|!^ k - - ^ i 1 40 j CLOSE )(2nd ending) ( 1s t ending) -9 - A e A # g n f = f APPENDIX E APPENDIX E Selected Bibliography^ Adams, John Cranford; The Globe Playhouse (Cambridge: jonn uranrora: me uiooe yiayno Harvard University Press, 1942). : j Arbeau, Thoinot: Orchésographie, transi, by Mary Stewart Evans (New York: Kamin Dance Publishers, 1948). Arnold, F. T. : The Art of Accompaniment from a Thorough- Bass (London: Oxford UniversityPress, 1911). Aubrey, John: Brief Lives, ed. by Rev. Andrew Clark (Ox ford: Clarendon &ress, 1898). Lives of Eminent Men (London: Longman ^ al., 1813). The Natural History of Wiltshire, ed. by John Britton (London: J. È, Nichols and Son Ltd., 1847). Wiltshire: the Topographical Collections of John Aubrey7"corrected and enlarged by John Edward Jack son (London: Longman and Co., 1862). Banister, John, and Thomas Low (editors): New Ayres and Dialogues (London: MC for H. Brome, 1678). Bowden, William R.: The English Dramatic Lyric, 1603-1642 (New Haven: Yale University Press, 1951). Boyce, William: Cathedral Music, 3 vols, compiled between 1760-1778 (London: Ashley, 2nd ed., 1788). Bumey, Charles: A General History of Music (London: Printed for the author,1789). Bush, Douglas: Mythology and the Renaissance Tradition in English Poetry (Minneapolis! University of Minne- sota Press, 1932). Campion, Thomas: Campion* s Works, ed. by Percival Vivian (Oxford: Clarendon Press, 1909). ^Additional bibliography will be found in the foot notes to the text. 465 466 Coperario, Giovanni (John Cooper): Rules How to Compose (ç. 1610), with an introduction by Manffed É. Bukof■ zer, facsimile edition (Los Angeles: Ernest E. Gottlieb, 1952). Crum, Margaret C.: "Notes on the Texts of William Lawes* Songs in B. M. MS. Add. 31432", The Library, Fifth Series, Vol. IX, No. 2 (June~l93?)T Cunningham, P., and J. P. Collier: Inigo Jones: a Life, with five Court Masques (London: the Shakespeare j Society, 1848). I Cutts, John P.: "British Museum Additional MS. 31432, I William Lawes* writing for Theatre and Court", The Library, Fifth Series, Vol. VII, No. 4 (Decern- B i r T93 ‘27. Dart, Thurston, and William Coates (editors): Jacobean Consort Music, Vol. IX of Musica Britannica (London: Stainer and Bell Ltd., 1955). Dent, Edward J.: Foundations of English Opera (Cambridge: Cambridge University Press, l9z8). Dolraetsch, Arnold: The Interpretation of the Music of the XVII and XVIlt Centuries (London: Novello & ‘ Co., LtdT,~T9lBT7‘ ------------ Dolmetsch, Mabel: Dances of England and France from 1450- 1600 (London: Routledge andKegan Paul Ltd., 1949)• Duckies, Vincent: "The Gamble Manuscript as a Source of Continuo Song in England*’, Journal of the American t^usicoldgical Society, Vol. I, No. 2“(ÏÏûnraier 1948). Erlebach, Rupert: "William Lawes and His String Music", Proceedings of The Musical Association, Fifty-ninth session, 193*2^3. Evans, Willa McClung: Henry Lawes, Musician and Friend of Poets (London; Oxford University Press, 1941). Fischer, Wilhelm: "Instrumentalmusik von 1600-1750", Hand* buch der Musikgeschichte, 2 vols., 2nd éd., ed. by Guido Adler (Berlin, 1930). Fitzgibbon, Macaulay H.: "Instruments and Their Music in the Elizabethan Drama", Musical Quarterly, Vol. XVII, No. 3 (1931). ^ 467 Frost, Maurice: English and Scottish Psalm and Hymn Tunes, c. 1543-1677 (london: Oxford University *Fress, T 9 5 T T - Fuller, Thomas: The Histories of the Worthies of England (London: J.G.W.L. and WTo. , 1662). Galpin, Francis W. : Old English Instruments of Music (London: Methuen & Co., Ltd., 3rd. ed., 1932). Gombosi, Otto: "Some Musical Aspects of the English Court Masque", Journal of the American Musicological Society, Vbl— , W ( F a T T m S T . ---- Hart, Eric Ford: "Introduction to Henry Lawes", Music and Letters, Vol. XXXII, No. 3 (July 1951), and No. 4 (October 1951). Hatcher, Henry: Old and New Sarum, Vol. VI of The History of Modern Wiltshire, ed. by Sir Richard Colt Koare Uondon: S. & J. Bentley, Wilson & Fley, 1843). Hawkins, John: A General Histùry of the Science and Practice of Music"(1776), new ed. (London: Novello, Ewer & Co., Ltd., 1875). 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Nichols and Sons, 1872). 470 The Rounds, Catches and Canons of England (London: - T irmBioïs"ihd"sôns,” m 3 y . — Robertson, Dora H.: Sarum Close (London; Jonathan Cape Ltd., 1938). Rohr-Sauer, Philip Von: English Metrical Psalms from 1600 (Freiburg; University of Freiburg, 1938). Scholes, Percy A.: The Puritans and Music (London: Oxford University Press, 1937). Simpson, Christophers A Compendium of Practicall Musick (London: Printed by William Godbid for Henry Rrome, 2nd enlarged ed. in five parts, 1667). The Division-Violist, lithographic facsimile of the second edition (1667) (London: J. Curwen, 1955). Simpson, Percy, and C. F. Bell: Designs by Inigo Jones for Masques and Plays at Court, printed for the Walpole and Malone Societies (London: Oxford University Press, 1924). Steele, Mary Susan: Plays and Masques at Court During the Reigns of Elizabeth, James I, ahcTCharles 1, 1558- 1642 (London: Ôxford University Press, 19*26). Tovey, Sir Donald: "Words and Music", in Seventeenth- Century Studies Presented to Sir Herbert Grierson (London: Oxford University Press, 1938). Van Den Borren, Charles: The Sources of Keyboard Music in England (London: Novello and Co., Ltd., 1913). Walker, Ernest: A History of Music in England (Oxford: The Clarendon Press,"T952), 373. ed. revised and en larged by J. A. Westrup. Warlock, Peter (Philip Heseltine); The English Ayre (London: Oxford University Press, 1926). Weisford, Enid: The Court Masque (Cambridge: Cambridge University’ Tress7T977yT— Westrup, J. A.: "Domestic Music under the Stuarts", Pro ceedings of the Musical Association, Vol. LXVIII (i9n % . — ---------------------------- 471 "Foreign Musicians in Stuart England", The Musical Quarterly » January 1941. Purcell (3rd. ed., London; J. M. Dent and Sons Ltd., — T9'37): Whitelocke, Bulstrode: Memorials of the English Affairs from the beginning of the Reign of Cnarles I "(London? " mEha5Iel"ToE3dr";^5d2T: Wood, Anthony: The Life of Anthony £ Wood from the year 1632 to 1672 (Ôxford: Thomas Heame, 1772). Manuscript notes on the lives of the English musi cians. Unpublished manuscript in the Bodleian Li brary (Wood D. 19 (4), No. 106, folio 83). Woodfill, Walter L.: Musicians in English Society from Elizabeth to Charles 1 (Princeton; Princeton University Press, 1953). WILLIAM LAWES: HIS LIFE AND WORKS I \ VOLUME II: SELECT CONSORT MUSIC Transcribed and Edited by MURRAY LEFKOWITZ M » CONTENTS Editorial Notes Page I V FIVE-PART CONSORT SUITES 1 Suite No. 1 in G minor (a) Fantasia; (b) On the Plainsong; (c) Air 2 Fantasia from Suite No. 2 in A minor 3 Fantasia from Suite No. 3 in C minor 1 12 17 SIX-PART CONSORT SUITES 4 Suite No. 1 in C minor (a) Fantasia; (b) Fantasia; (c) In Nomine ; (d) Air b 5 In Nomine from Suite No. 3 in B major . 22 45 SUITES FOR DIVISION VIOLS AND LYRA VIOLS 6 Suite No. 2 in C major, for two division viols and organ (on a theme by Alfonso Ferrabosco II) (a) Pavan; (b) Alman 53 7 Suite No. 2 in G minor for three lyra viols (a) Fantasia; (b) Alman . . . . . . 61 HARP CONSORTS 8 Consort No. 1 in G minor (a) Alman; (b) Cor ant ; (c) Corant; (d) Saraband . 9 Pavan: Consort No. 8 in G major . . 10 Pavan on a theme by Cormacke: Consort No. 9 in D major. 11 Pavan on a theme by Coprario: Consort No. 10 in G minor 64 69 75 83 SONATAS FOR VIOLIN, BASS VIOL AND ORGAN 12 Sonata No. 1 in G minor (a) Fantasia; (b) Alman; (c) Galliard 13 Sonata No. 7 in D minor (a) Fantasia; (b) Alman; (c) Galliard 90 95 ii 14 Sonata No. 8 in D major (a) Fantasia; (b) Alman; (c) Galliard . . . 100 SONATAS FOR TWO VIOLINS, BASS VIOL AND ORGAN 15 Sonata No. 1 in G minor (a) Fantasia; (b) Alman; (c) Galliard . . . 107 16 Sonata No. 6 in b major (a) Fantasia; (b) Alman; (c) Galliard . . . 114 17 Sonata No. 7 in D minor (a) Fantasia; (b) Alman; (c) Galliard . .121 SUITE FROM "THE ROYAL CONSORT" 18 Suite No, 2 in D minor (a) Pavan; (b) Air; (c) Air; (d) Galliard; (e) Corant; (f) Saraband; (g) Saraband . . . 127 List of Sources . . . . . . . . . . 136 Critical Commentary . . . . . . . . . 137 iii EDITORIAL NOTES THE MUSIC Most of William Lawes* s instrumental music can be grouped into collections which are easily distinguishable by their form and instru mentation. The composer himself carefully arranged his music in the auto graph volumes and indicated the instrumentation at the head of each col lection. Individual movements, such as fantasias, pavans, airs, etc., are so titled, but any reference to a general title for any of the com plete groups of pieces is lacking. Those given here have been supplied by the editor. THE CONSORT SUITES IN FIVE PARTS The first five examples have been selected from the sixteen move ments which make up five suites of fantasias, pavans and airs in five parts. The collection is designated "For Y® Violls" and the ranges indi cate that two treble viols, two tenor viols^(or alto and tenor), and a bass viol are intended. The organ parts are reductions of the others made by the composer and are not vital to the performance of the music. In the seventeenth century however they were considered important as an aid inkkeeping the players together and in tune. For this purpose a small chamber organ was used. These pieces may be performed with good results by modem strings. When this is done an instrumentation of two violins, two violas and one cello will be found generally successful. In some works a second cello should be used instead of the second viola. The player is cautioned not to exchange parts to accommodate the second viola as this destroys the intended contrapuntal line. iv THE CONSORT SUITES TN SIX PARTS These are of the same type as the above except for the addition of a second bass viol which, when violins are used, may be replaced by a second cello. The examples printed here are from seventeen movements which have been grouped by the editor into five suites. THE BASS VIOL SUITES Three suites are extant by Lawes for two division bass viols and organ. These contain a degree of virtuosity not often found at this ear ly date. The divisions are performed upon the repeats of the individual strains, as was customary also in the extempore improvisation of the period. Unlike the Consort Suites the organ part here is an independent and integral part of the composition. The second suite in C major, in cluded in the present volume, was entitled "Paven and Alman of Alfonso" by Lawes. "Alfonso" is Alfonso Ferrabosco II whose theme is carried by the organ. The source will be found in the Critical Commentary, p. 141. In the absence of viols and organ these suites may be performed by two cellos and harpsichord. THE LYRA VIOL SUITES Anthony Wood records that William Lawes was *'an improver and ap prover of the lyra viol," a small bass viol that was so fitted as to facilitate the playing of whole compositions in multiple stops. The lyra viol was the virtuoso of the bass viols and when employed poly- phonically it was written for in tablature rather than in ordinary no tation. Thus a number of different tunings were made possible. Thomas Mace recommended this instrument for a complete set of viols and mentions that there were "most Admirable Things made,"by our Very Best Masters, V for That Sort of Musick . . . and Peculiarly for 2 and 3 Lyroes." The Second Suite in G minor is for three lyra viols in tablature. A rare tuning called "Eights," wherein alternate strings are in octaves, is em ployed. For performance by three cellos it will be necessary to adapt the multiple stops. The lyra viol tuning will befound in the Critical Commentary, p. 141. THE "HARP" CONSORTS This is perhaps the most unique of Lawes*s instrumental sets and consists of thirty dance movements arranged into eleven suites for broken consort. The instrumentation is specified for violin, bass viol, theorbo and harp. It is probably the earliest known collection of chamber music to include a completely independent part for the harp. Consorts Nos. 8, 9 and 10 are large pavans with elaborate variations or "divisions** of the virtuoso type. They are among the composer*s finest compositions. The bass viol part may be performed by a violoncello, or even a double-bass, with excellent results. THE VIOLIN SONATAS Lawes has left two collections of fantasia-suites #iich are among the important examples of early chamber sonatas. Of these there are eight sets for one violin, bass viol and organ and an equal number for two violins, bass viol and organ. Each suite consists of a fantasia, an alman and a galliard and is unified by a "close" or coda in the original metre and key. This form was described by Roger North early in the eight eenth century as follows: ’ ’ During this flourishing time. It became usuall to compose for Instruments in setts that is After a fantasia, an aiery lesson of two straines, and a tripla by way of Galliard, w^^ was stately; VI . . . or rather imitatory of the Dance. . . . These setts altogether very much resembled y® design of our sonnata musick Being all consistent In y® same Key; . . The organ parts of these trio-sonatas are re markably independent for their period. The bass viol, more than a mere continue, takes part in the concertante interplay between the parts; The first-movement fantasias bear little resemblance to those of the viol consorts and are imbued with the new spirit of Baroque instrumental music. THE "ROYAL CONSORT" In the autograph volume Bodleian MS Mus. Sch. B.3 is this collec tion of large dance suites. The instrumentation is specified for two violins, two bass viols and a thorough-bass for two theorboes.. Sixty- six movements are usual in most sources containing this work but evidence suggests that there may have been more than ninety. The editor has arr anged the sixty-six into ten suites of six or seven movements each. Originally the entire collection was written in four parts, probably for treble, alto, tenor and bass viols, but because the inner part was over balanced by the others Lawes rearranged the tenor for two bass viols which alternate between the third part and the continue. The clef changes have been maintained in the example given here so that the reader may examine this curious involvement. The alto clef has been changed to tenor for the convenience of the cellist. In lieu of bass viols and theorbo lutes, violoncellos and harpsichord may be used in modem performance. The thorough-bass part is unfigured. A realization of the thorough-bass part for the first movement "Pavan" has been provided by the editor in small type. This part is suitable for both theorbo lute and keyboard. The ^Roger North, The Musicall Gramarian, ed. by Hilda Andrews (London: Oxford University Press, 1925), pp. 2Ô-21. vii title "Royal Consort" is not present in the autographs but in several of the other sources. From the large number of sources it is clear that this was much the most famous collection of instrumental music in England during the Caroline era. viii THE TRANSCRIPTIONS With the exception of the suite for three lyra viols all of the music in this volume has been transcribed from William Lawes * s autographs. These were meticulously arranged and copied by the composer himself and they are by far the clearest and most accurate copies of his works. In the Critical Commentary appended to this volume the reader will find an explanation of the specific editorial changes and practices used by the editor as well as critical footnotes to the musical text. The present section is intended as a more general introduction to these transcriptions KEY-SIGNATURES Tonality is not firmly established in Lawes*s music. Consequently his key-signatures are not always regular and were often written with one flat or one sharp too few. This practice is a carry-over from the preced ing era of model transposition and alterationj(especially of the dorian mode), to the present major and minor tonalities. The minor key in par ticular often vacillates between the dorian and the melodic minor. It is with some reservation that the editor has changed some of the key-signa tures to conform to modem editorial practice. The music is limited to nine keys: C, c, G, jg, D, d, B^, F and a. METRE Time-signatures of the early seventeenth century are also carried over from a preceding age. But the era of complex proportional notation no longer governs this music. In his time-signatures Lawes retains such - signs as , 31, 61 and ( j ) * , but these simply denote the division of - the beat rather than the involved proportional division of obsolete long „ note-values, ( j ) indicates a 4/4 metre somewhat faster than, but not twice as fast as Q , Lawes uses it almost exclusively for all of his music in duple time. 31 is referred to as tripla by theorists like Simp- ix son who tell us that it indicates three minims to one beat of the hand, the minim equalling the crotchet of ( j / . Lawes uses this metre to rep resent three crotchets to one beat in corants in 6/4 and sarabands in 3/4. (j)* denotes a fast 3/2 metre and is used by Lawes only in the last-move- ment abstract galliards of the violin sonatas. 6-1 is employed by the composer for a sudden interpolation of 12/8 over 4/4 as can be seen in the "divisions" of "Harpe" Consort No. 2 IS £ Major. Apparently this was the only manner in which triplets could be notated. The modem metres used in this edition have been substituted by the editor. Because of 3 3 their faster tempo, Galliard note-values have been halved from to ^ time. BAR-LINES The composer is not at all consistent in his barring. Much of the music paper that he used has printed staves and printed bars, and the latter were practically ignored. Sometimes a bar has two beats, some times four, six, eight or twelve, depending upon the amount of space available. A bar might contain eight minims but it could only hold six teen semi-quavers. Consequently the bar-line must not be taken too seriously at this period and must not be allowed to influence the phrasing, bowing or accentuation of the music. Regular bar-lines have been inserted by the editor in these transcriptions. ACCIDENTALS Lawes * s employment of accidentals is for the most part entirely clear and consistent in his autographs. In major keys there is hardly an oversight or error to record and in the minor key it is only the occasion al omission of an accidental on the sixth or seventh scale degree that needs correction. This is easily set right when augmented seconds are X avoided. A comparison of the Bodleian Library MS Mus. Sch. D. 229, which contains the organ and harp parts to lawes * s major works, with the auto graph part-books for the other instruments, furnishes proof that the aug mented second was avoided, for if the accidentals are omitted in one manu script they are invariably to be found in the other. All editorial acci dentals are in small type. USE OF CLEFS The original clefs are shown in the prefatory staves. Treble clefs have been kept and so have bass clefs, but, in the case of Consort Suites of fantasias and airs for the viols, the clefs meant for tenor or alto viols have been either kept in or changed to alto clef for the convenience of modem string players who will want not only to examine this music but to copy it and play it. Tenor and alto viol players can usually read this clef. In the case of the suite for three lyra viols the transposing G- clef with an additional downward transposition of an octave,(shown by an 8 under the note affected), is used to avoid vhat would otherwise have in volved a multiplicity of clefs on one staff or an equally unsatisfactory use of two staves. In general, changes of clefs within a part have been transposed to a single clef except in the case of the suite from the "Royal Consort" where a clef change has been maintained because of reasons previously stated. Nevertheless the alto clef has been changed to tenor for the convenience of the cellist. ORGAN, HARP AND CONTINUO PARTS Some of these, such as the organ parts of the Violin Sonatas and Bass Viol Suites, as well as the harp parts of the "Harp" Consorts, are independent and integral parts of the music. Those of the fantasias and airs of the large Consort Suites for viols are simply reductions of the xi other parts. The thorough-bass line for two theorboes in the "Royal Con sort" suite is unfigured in the autograph and is given here in its origi nal form together with a realization for the first movement pavan which has been provided by the editor and is suitable for keyboard as well as the theorbo-lute. THE AUTOGRAPHS At least fifteen books of William Lawes * s autographs are known to have survived. These include four volumes, two sets, part of another set and an organ book. Six of these books, and the most important, are in the Bodleian Library in Oxford, seven are in the British Museum in London, another in the Houghton Library at Harvard, and the last is reported to be in the Nanki Library in Tokyo. These autographs are in remarkably fine condition, bound in brown calf with the coat of arms of Charles I and the initials W. L. or H. L. on the front covers. Lawes himself must have had these bound and then copied his music into them, possibly in about 1643 #ien the court moved to Oxford. This would explain how six of the books came to be in the collection of the Oxford Music School. They were later transferred to the Bodleian Library. xii NOTES ON PERFORMANCE TEMPO Tempo-markings were not in general use during the first half of the seventeenth century. Consequently they are not to be found in the auto graphs or other manuscripts of Lawes * s works. Since musicians will never agree to fix definite tempos, even in the works of later periods which do contain tempo-markings, any attempt to do so here would merely serve to create a dispute impossible of settlement. Nevertheless the editor feels that some general suggestions regarding the tempos of William Lawes * s music, based upon the writings of theorists of the period, the findings of modem research and the experience of musicians who have played this music, will be of practical value to the performer. The following table may be taken as a middle ground from which the performer may proceed, a bit faster or slower, as his musicianship may direct him. cl = M.M. 72 fantasias. In Nomines, pavans, almans, aires J = M.M. 152 galliards M.M. 58 corants M.M. 66 sarabands DYNAMICS There are no dynamic markings in Lawes * s autographs and few in any of the other manuscripts containing his works. As in the case of tempo markings these do not occur until later in the century. Dynamic expression, however, is a hall mark of this time. Theorists like Christo pher Simpson and Thomas Mace are explicit in their directions for its use. The individual character of Lawes * s themes and the variety of his con trasting sections will facilitate this task for the performer. xiii BOWING Bowing indications are rare in Lawes * s autographs. Slurs, other than those found in the originals, have not been added or suggested by the editor. The indiscriminate addition of slurs to the music of this period destroys the natural flow and beauty of line characteristics of the style. Certain passages, however, such as some of the variations of the "Harp" Consorts, contain writ ten-out ornamentation vdiich may require slurs for successful execution. The performer is cautioned to exercise restraint in adding bowings and not to be influenced by the tentative nature of the bar-line of this period which has absolutely no effect upon the direction of the bow. (See also the paragraph about barring on p. x) ORNAMENTS Lawes includes fully written-out ornamentation in his variations. He does not, however, use any signs for ornamentation in his autographs. It would therefore be hazardous to suggest any formula for the inclusion of ornaments in the composer’s music, even with the ornamentation tables supplied by Thomas Mace, John Playford or Christopher Simpson. Such care fully- worked and closely-knit pieces as the fantasias, for example, do not allow for much ornamentation even at their final cadences, which are the usual place for ornamental displays. Lawes lavished a good deal of skill and care upon his closes. They should not be over-elaborated. Ornamen tation was, however, a common practice of the period and the performer is urged to study the tables mentioned above. As for the use of vibrato, the editor believes that vibrato has been the natural companion of good string tones on bowed strings down through the ages. The warmth and rich ness of Lawes * s melody could hardly have been conceived without it. The xiv vibrato, however, must be in good taste and not used continuously. REPEATS All dances, in AB or ABC form, would have repeated strains in per formance , whether or not these are shown in the sources. "DIVISIONS" The art of improvisation has long ceased to be the requisite of the serious musician, but during the Baroque it was especially desirable for the performance of the dance suites of the period. Indeed, the seven teenth century has often been referred to as'the century of the variation." Moreover, the instrumentalist was expected to extemporise variations upon the repeats of the various dance strains. This subject is treated by Simpson in The Division-Viol (1667) and to some extent by Coperario in his treatise Rules How To Compose (£. 1610). In his "Harp" Consorts William Lawes has left an extremely valuable collection of dance suites with fully written-out variations. These will serve as an excellent model for those who would try their hand at extempore "division." XV F I V E - P A R T C O N ! # R T S U I T E S 0 Suite no. 1 in G minor (A) FANTASIA T R E B L E VIOL I \ T R E B L E VIO L I I TENO R VIO L I T E N O R V IO L U BASS VIOL -O- ORGAN i O Î6 # m r k- U g I L j ■ J I ^ J J I I rir^cr^ A I i. A i # # © Copyright 1963 by The Royal Musical Association S.& B. 5541 2 ^ r T C T i @ g # # g f # e :J -J- nl >.■, - J 1 f = f = ^ = j p ^ r U I , ! ' >-'J- -p-^ — ------JJ- .- - f=f= _ . . J LlT~r ' p ^ r ^ r_=^ ) , , . . 1 l~-j ■ t t ü = N M £=^=?^— T = f = f »— p— =— 11)1' J jj; ---- ------- ■ ■ ^ y . ....; . . ^ ' ÿ —1 ---- -*--1 --- iWr "P*...- — ^ p __ ^^9-- I f : . ' r± 1 -J-- -| ---- - ' H r ■g— --J- -J| J 1 ' <LJ r L f ------ — J— t w = # = j j p ^ f » - - - j ; 0 c ‘ V , P f Lff X-A L®-------« 1 — b = ^ - — *— J— = f r ü iii‘ ‘ - - :pj7 . . . - --- ----------- V---- r T r p hJ - t -1 6 '*P — ------- k - m = I l l O . k . ^ r — p - fff --------------1 — - - h r- ? ---: ^— P -f--------- r # — p — f=4=^ ■ p # f - Ü - ■ — 1 # — #p r ^ —0— "P— r - p t w te|l> : -i^f -r-f\ ■]Ppi»— » — - — J dp. r ■ - ^ --- p= ^ . g ^ . ., . rj - 0 . • h = / ^ b '4 ----& j-n W J ri:-r-::rp' _ # r v # ^ _ 0 - , iJ 1 1 H i v - p y - ÿ : gjiL — 1 ^i.,j,, J ,jq r *-& ------ = = ^ = N ^ — W - ---- — s i — #1^ r ----- sL r f" : # r / S.& B. 5541 # 60 l S > - g 3 m i ' ' Y ^ j. J ? F err a # É 55 #r,r iT #r-r F P-n» f-tFtif F F F £ # t } ( g - - # f WH0 i # 3 3 f h J* j Wt" F 3 'i - A # # F # 3 3 -r #cyr f f Y T T 55 # 55 #L # m w #p=M 3 # ( g 3 - V - r f e i r x i m 3 I g g m m m m A f U - ^ i S.& B, 5541 4 a I } n i . . . . . . . i # _ _ _ _ r f r r f . f 1 f r ' Y r f i f . L P | > > — - L _ y L r r r f 1 / . . . . . . . . . . . . . . . . . . . . ' f - , - ? i i F f r _ — W — L X — 0 1 - p . m = \ n P f ^ 3 * ^ . ^ . . . . . . . . . 1 r h h ^ ^ f ? r T ~ T M — p . Y r i t f . . . . . . . . - a - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - j S . — - j - - - - - - - - - - - - - - - - - - - - - - - - - - - - — _ # .. I f f f = n , J d J = f . . . . . . . . r r r P r w 0- ■ - - j ' " i - h = r f k p — jùX 9 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - — n ^ r % . - • - - - - - - - - f u # ' P L I — # F k = = # ^ : : i . . : L £ X j . J J U : : : : . : . I - - - - - - - - - - - - - 1 — J — # . # f : : f .: L J — W _ \ w ' ~ r • L p r - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -& r « i ^ r T J # = = # = 4 F 4 r r T j t p d h = r F t - f t - - - - - - - - - - - - - - - - - - - - - - - - J . . . . . . . . — - - - - - - - - - - - - - J - - - - - - - - - - J - - - - - - - - - - - 1- - - - - - - - - - 1 3 = z=à^:A . . L i g = l — L ^ — — — [ — 0 — y 1 ^ 75 80 F._. ^|l M=q |tt'* > - ■ . ■ : ■ ; .. :::--:v ^ .;ly 1 p ....... y-LLJ |ji> 1- H = ffl r— . p =#= #-P- :##p f j £ t 1? " = - i ! > l " t > ■ h --= r m k # ■ P P -- 0 . J p=^-fT = # B f= ï ? ) F f= * f= -- 4gii y - -=1 — ----h #t=J W k J-: Il , [ ÿ p ^ÿ'P f ' r j j j j TT3 W — -L — ^f=fFT- rr-g^ /Uçfc— iMf —^3- 3-3- - f i l - 3= X V ---« p l— 1 — f - 3 f c tp= F##p j 3 U------p SX ^ ) # r #= : - • • ' f-1.1 A - i — •3 ■ f —f- ' - .....- J ~ 3 Jÿ « " xy i r f _ i . . [ J 'f l~rf=Ff~' # * 85 90 r Ë f J- ^ h T = f = h f 9-- f r V r n -j - j |» | / T v p-f- : # = = # 4 -f' . . : r| # T f f ^ g — - f - é y # | 9— j ÿ , - . = = f ^ # # = 119,k # : ' p.. , : - — - 4Pt l ? • • — p , te------ CV--- P 4- ^ ^ < • f=:.::^:T: Y zn=p::z_:#,t,p / T \ 4nk s j s * - -fôîïk -f i k p 4 = r — =3 =Ffl N = f __/ r / H . LJ - 1 #3 = 3 = H / T \ V|w|y pj#> 3 3 ,3 Y f i prW- — p » l-^— — 1 ~ 3= j ^ p— - I 7 ^ 3-3 1 —0— —O Yrirrli~~ -= r # = 3 = y = y p--- [ 4 = p t =M4 = = J JJJ i . : l F 1 ' 3 ^ —e--- î ± = J = M 4 = M = ------ 7?S 3 ,: --- 1 --- W T - Y T - ' j i f » ..r 1 —o-- S.&B. 6541 (b) ON T H E PLAINSONG T R E B L E V IO L I T R E B L E V IO L I I T E N O R V IO L I T E N O R V IO L I I B A S S V IO L - & ■ ORGAN I kb... g . ^ O ' \ 0 h M-0 m É # J ^ I J J T T T f rTTf r r r ,W W - ë' i>i A A a é = ^ ê J J J 1 f I f f - F t Y rf—\ 9 ....... S5 rf ^ — — y _ '- Lp l I ''^ .... 4 P I ^--------- _ — M I..U 1 -. .« m,k j f W B ------------ - # — F f l \i J. j [ J j , . Y - T 3 --------- 1 r ttr -f — • /a ,''" — m - 4 f a- n r — i --- k ------- - ^ I " . f ^ t=#=t f"T' f0 r f « — w—±=fe ■ r —P - A '' ^ 1 T T ». -o— J --- « i j J y F fl'': j4 r.J]j I 1 J.....U- '* " » ' ..... - w #r r fdf.l. g ------ -tf— f — o **p p fP F I -1 - ^ .. g .... J ......... XT w S .& B .554] L L j' a J Hf P' ' ^ m 30 # I B # f "P - i m # f- r- Y # #' 35 r n rf # # # -o - b yfa w i i H i> r-.. F-» f o a # . A- # F f @ k l ' o J - ' J. # # #_«_0 t l^ p # # a M i )J31 ) ! /''J J i i T f f r s. & B. 5541 I 7 I » o XlL Æ « A A a # f #— #— # i XX- A # # a ij ^ - T r t i r I f ^ — ( jsy- > 7 r m A t o m\)> # # _ _ _ 0 - Æ ..0. i # $ i— J T T 3 J * ; - ^ T 3 5 ^- ' : - J w # S.&B. 5541 8 lll'^ 'r r r r ^ - f r k -------r — — # #=f ~f-f ' ^ P ' " W fj j. # 3 - = 4 ü i ^ — “ T ... r ..p n [ { * 1 ^ j Tn ' æ # . . j » , . i ^ i = p : : p y -;:;Jm n J — p ----- “ f-- p — t 5 - ■ 4=f=j - L l & T ' k. ^ J J V d T & # # - ± » f.. 1 --P p r jr—^ I « f : J ^ # 1 ^ i.i,,- . ± i m j — 3 — ^ ■ ^ -r -1 - # ---- ^ ----- j ^ = b = U - i m ' 4 ^ L l tr w i : _ r ^ , j § ) ■ > J, . -!L r ia 1 # ^ ■ ■ f - f i j _ -- - & - — -■-^0 - — - — g k — — — S F f " A = P -4 -- 1 --P - p — f|r rr#rY'ir pf m w m # qj& # m **rrrf W # # f | I |J 1 # jP 1 b — _ _ _^ p = ^ M =^ J p ■ : jq iiD .b.^-r ic rj_ |i_ J -----i_ — ---- p ---- r 1 * - a J 4 = ^ ' p ip ■ If— —J - .-.— J- * • -- '^ ^ r^ c ic r j Lt4-U-U W n --4 ------ T * ■ ^ r I4 —0 - - - - - - - - - - - - - - - - - - - - - - - - I f r ;r " '- 4 br Y ' ^— F f ' ^ - - J V t H ^ ° r =& — -Of % i A Y r ■ >f Ilf - ■ -— irrl-^ IT 1 f- ^ ^f-:' T — S.&B. 5541 86 90 m A W E É - à tP i=tp 4 r r J. jiii^ m _ / t f O ■f-fttnr h.n"# J-Wl W#" w—9 a t t ^ #-#■ m É # ^ A % a .j. w ÆtfJ* m i05 g w ? # -Cf- <a=ü’ } $ o — T- f - Y Wfffÿ a 5 a # f Y # i r ‘ Y r r r 1 4 = 4 ^ Y f f S.&B. 5541 10 M 110 rs n\ r f / T \ - o - É / T \ i / T \ -o- F'-o' " ■ ■ ■ ' J — 1 1 # . ^ 4 i J 1 - o - -------— /T\ H k - : = ------- \T -:'M @ J , j ' ■ J ^ r N ■ ■ ^ --4^ k ^ : , . j : d . j f - 1 / ' ' J ' ' _ J B : • . L - ' ■ Pr"' r - ^ - j - n j J i * r ~ r T~ J = t S = —. O . Æ=- | . C | , . . . , . . ^ Tf-=^- 1 — —• —M . . , l , _ . . . p p J ^T'tur ‘ k==H — — (c) AIR T R E B L E V IO L I T R E B L E V IO L I I m T E N O R V I O L I TE N O R V IO L I I BASS V IO L i w W' $- w 3 E f f ORGAN w É i i S.&B. 5541 il # g m 10 m m i 1 1 » j. xr a w % f ¥ r r f ¥ ¥ = î T T 3 y ÿ -#--- p if5 'Y f f f r r f ----------- P fe t= = 4 - ■ . . . 1 4 4 4 = f 14 % P ' C U J 1 ^ liiii,!, J. |\_|----- =d H = # # _ p -------- #---- ]= F ; ■ ' 4î^»---= ------» * • -: .; ~- im.l. ., ■ - .# . . . . - 4 ■ ■ ■ » .." • < 9 ---- -4 -— *— ---- 0 L . m 1 *nn P =F - fr ):| 1 » ---- r - b = t = " f —r— r -------- -------0 ■ ■ ■ ■ ■ » L -J- ■ ^ V - — ~~~o ^ j - ; ~ y — = 3n w = = |Ü = — 1 « — # F = f --- z — i — | y : i ---- ^ ------------:— -r -^ m:, l > — P " ------------ rrrr F - ^■T-"£T- J.. J _ J - — ' g .............. J . a —L # = = -v-^ — - If Y- r r rr- ?» ^ — b L - g ---g---4 ---- . f l . l , - # —- - l m - r s - ^ - J ' —F " F 1 * - —F - U - - ?=m= ü m4& 0 * 0 ' “Hf -#— ¥r :?=4 4=1 c , W .■ -g-f-j-J- t B . . g g . . . = # “f— - —e--- . C \ _ | i ) 4 ï-• = 1 9 4 ^ — =S=i=5 = ^ 4 f = N ' - 6 =#= i — . . 0 g . y ? \ ^ * # : : p J 0 i 4 ^ = 4 = 1= 4K- =4= C \ H M " 1 # i l J - ■ ■ J —^ " ■ 1 i t p —J — - 44=4 - 1*- 4 . r - g — '4 - -1 ~ —— — 0--- c \ ! r ^ .. 1 _ : . . E E ^ 4 ^ -f « r t t ^ H--— +' 1 H* r r r m r ^ f-;= j : : - # H = ^ 4 : — 4 c \ V JûlVL—, ' ^ i ' ' q j - g - J---—4 = 4 r nr r -0--- S.& B. 5541 12 from Suite no. 2 in A minor FANTASIA T R E B L E V IO L i lo T R E B L E V IO L I I TENOR M -0 - -0 - F/oz/ m TENOR V IO L I I T 3 » BASS ^ é XE a — i i • nJ p IJ m Î i 0^ m ORGAN te a -iiij j XE 15 0 - XX XT XT XX XT 0 XX S.& B. 5541 1 3 25 30 35 SX -O: 60 66 -9- - - - - - - - = t = H - . — T ~ F r H J - £ f P — W # 1 — ^ M 9-- - - - - - - T W f # a = — < 9 4 4 - 3 4 U -a r-f r, M p— -P- - - - - - - - - - - - - - - P p r Y ” 4 = ^ = 4 — i— 0— 4 : - = ^ : f p M = t — r ~ -O- - - - - - t = # * y -9- - - - - - -r » (e^ - - - ^ H • r --------------- "i# m -------- = p = = » t f m » f = i f = -&— v ? -------------o — r L p ÿ p -9 - - - - - - - - ~ r . 7 < 5 > - - - - - O .......... -o- - 4 ^ * # * p ......... f 4 - 4 —#— ^ , Hp 1 » m ^ 4 - :« J *4 M = M =|m T5 --------------- L : # = 4 -= -# - - - - - - - - .OJ- - - - - - - - - f s - -- #« i - \l-------------o ------------------ T — o -------O- - - - - - - - - - - -€»- -------------4— n 4 — R : r ü r l S.& B. 5541 14 V I _ _ _ _ _ _ _ _ _ _ _ ^ ? - - - - - - - - - - - - - - - - - ÿ — g " = = 1 ■ = F I I , , J : : : : # 4 ! 0= 4 t = 4 - I H - ^ 0— - p — — 7 # — M ^ = F = À - - - - - - # — f m i 4 » U W ' " . . ' • " ■ • . . . - J — # — T f * r - < 9 : - - - - - - - - - y ' - r 4 ^ = f - - a — # — m # 4 ^ - 4 - - - - - - - - - - p - = — " ^ 1 # — # 4 : = J 4 j } J i W - - - - # ^ 4 t = ■0 é-m - m J 4 5 ) — - - - - - - - - - - - - . . 7 * ■ r 4 ^ ' r i H — 0— = F = J 4 # = ^ u - a F F # - ' — a — 4 - : -: m û0U » • - 0— L J - t ^ j i ' : i ■ J - - 1 . r ] | l i J ■ J 1 F — i - i I I 4 = n 4 j 1 M d / 1 4 - # = W = 4 J ) 9 - - - - - - - - - - - - 4 = 4 = 0 = # = j - - - - - - j j ü ï J ., Ü " d J j . J : - a , f - f f ^ - - - - - - - - - - r t f N = ï = F = r 7 0 ¥ = - > f f m P ^ M = _ p - : - 1 1 4 = 1 7t = — % - i j M - [ f ^ - r ^ r | T ■0 — - 4 - 4 ^ # 4 . = j t — 6 » - = — = # w H = f = l — T r i * — # — (— = f p # # » - 1 - - - - - - - 1 u = L U j - Ÿ — : - - - - - - - - - - f * 0 m - - - - - - - - 1 ' 9 ■ 0--M 3 ï = ^ y g — F -m— 0- I k W - ® - - - - - - - 4 k & W = 4 f = t 4 - N d & — - e - M - - - - - - - - - - - - 4 = a , . - y W - # ) W ^ „ _ i -*+ | I - J . | J ^ 1 = r — f w - f # -ÿp— F ( 9 ^ -e------- 1 J 1 1jjjj| U 4 ~ r H ^ I 4 # = j r' r 4=^ tt(=j - f r r r j rr <g~o4^*^ yp-#w- 4— * '#~F~ h*“ 4 = * P Le------ UCr- ^ J— -#K— rrr Y 1 aP f # _ F m -m —: w -------é— ■ i= p z - F - f — - T f - # r = 17 ' ' . . i . F - # 4 p = 4 4 W — 4 k — ' 4 -a—# 1 — “ ------- -------- àr—a— ■4— ------ = m # 4 1 # - - J — -... —T “ ' - = N — ----------W' — wf~ - —F ^ r f H B — = — ■ :> # -:: r i " ■ ■ p - 0— -----------^ ^ = 4 = 4 -< * ■ - = ------- i ------- P • 4 # 4 ... - - N # 4 ih— % - M # : --■ -J— (9------- t f = 0 - f r i ----------- ^ — a - |9 _- ■- - * - i * ■ y . - i ' ' ^ * ' - | j ; j J W ; = ^ w t e : = j . Vs>. W W z q - 4-u- - = f= F = ^ r J - ■0-M- -f- _j#- - 1 ^ - î # y = y # 4 = # r r p - f rpOi- f Û0- -'J À A U . 1 i z i : Z : 3 ^ ^ i ■ fr--------r --------- T 1 n r 11 r = T p i . r - # = # # # j # J ^ : i p = 4 = 1 r f - r - 1 5 - . . . 1 = ^ — i— p - r r *r ■ S.& B.5541 100 R 106 110 W S - o - w É é ¥ P=i i m ~ K y - m -f (9- -O- W tiÜ: ti^ i W J J w = w M T # m W & Ë W- # S.& B.554Ï 16 W 116 l ^ S O é -o- ë m m w=e f ~n~ 1 -o- g=Ë # f # f c * W ^t - # 7t± - o - # g # « r ~ J = i # 33: W j t i r*rT f, r ééÜ -o - -o- / J < 7 - O ^ XX - € ► ■ X T XX / XX C \ -o- XV XV XX -o^ XV X X from Suite no. 3 in C minor FANTASIA ±7 j^fcMt=== lK *— " « V - ’ ' pN *— iUi f - a - < g ‘ --- / 3 - ■ ' F . « .. —t AUzJz------ ------ f=t 9 - ?=pp4 n 4 4 ] 35' 9 : luJk ^ p— f-- 1 ..,1 nl ~~TT b = i k = M ^ — -$- -ton4r*- I ) , g k — -J—J-^ -4*- 4— - J- y— ^ f r = { / S i k h i ^ " J I * *b# -4 -:--j-f- 4 = ^ *—f ^ V------ MiVih r~ f"— -ijp3 - , - W - # —- 4 N4 r - m 1 cr [ ' rf^- -d— Æ : U T R E B L E T R E B L E V IO L I I TENOR V IO L I TENOR V IO L I I BASS V IO L ORGAN - J - ¥■ -- F' * k# . " -t 4 5 - - r .----m-0- _ . : # ". :#T F f ---- f - r W f = N — — — 0— -0— p F *- ^ ----F- !- L l ^ J ----- —g i l --#—■-- - r t -#----- »— i 4 l --«Lj- 4=^ 4 ± t f 3 # ^ — 3g|i>, ' 4 = ^ W - — - r - ja-' , -ftiMx— TT 9--- — F— *- __B T ^ = ^ r V----ELJ2--------------------1 -=P % --------------- - P - fS — f ■ p - i = ^ --- F--- f ^ . j_a. -*-=---F- 3^ 0: d " % P ' ' U 4 (m =^ p 5 = ---a-#- 4 ' j 4 ^ ------- =f#M f =m w # : : : ^ I w W f---- - - - h - * - ! --J- d f # t ^ « J -AuV- . S .' : . . . d ----- p M M . - d 0 _ - d ----- > . _ . a - b/ rr^f "*k " ' F f 0 f ^ --? --a ---- T=#= 4 = " i— P I * - 7 3 — 1 — dhtUJ T r - 1 ■ 4 i> l ^ k q * — M ---- 4 ! F ï ïl^ - - : ' - ....... — ^ — -— 1 — < --m -- ■ T F ^ --d ---- --- p = ^ -J----- - :f -- ■ 4 . i - » . . . 0 — d - J - - o k -------J -- 4 r f i f g = :; =4 =— k ♦ -M »i- #=. - 1 J . - : 1 = IT 1- — H f r 1 - 0 — ^ M = f 4 4 4 / - M M v --- * T t“ - s -----! -- r ^ yd. - - 4 = 4. ■» f-r---s " m . T ---g _ — 4# f ^ ' -1 r- ■ f ^ F I- S.& B.5541 18 J £5 ü r r _# CL w k s w w 4. # i r®- # if=qF ^ tri" y Y # #-A g r r r7^ ! = : • - . 1 ' w p~zEuFter-s 9 -- -- ——- — f --- --r— ^--- -£ i^tk- - ----4- 4 — 1 . . . M . . . ' m ■ lijiJ.^ -J--a 4hP k -é ||g -|> , - - - é "g —r~ . p . _ y . ■f--P-- ■ T J • _ - w w —f— 1 " — — é - --- f --^ -— -- -A------ J [f * 1 ^ J J 1 p Æ = r t ■ ■ ri W s # # # r f W r - o - o - -o- m Aï -O: O B. 5641 19 - b - z - -^ - i - * - - # — f # m --- -# - p - g ) ÿ i;k~ N # —■ T t M ~^-^r r u r - ■ ■ l i J - J p #r #-# — m±±=^ - t P i k r 4 - 4= ....J - I b- b-Mh 4P i k 9 » "ê4— = J Jn 1 — S - 45 Pk r k- 1 ■ • i ' é 4 > I f . H * . . . 1 " ---• * 4 - é . :À— =m^ J- pSfhf # = ^ P l > - #ipb- g i - . 1 L - O----- Tfffé f\ ' ^ 9 - r j ' ■ ■ » t ' 4-' J / , r f — # — J R t P P R \ ^ (tes " cr c . . : ..4 t . - 1 &-^--- l —O----- -T-" -, 4 n~T^ h»4f f rrfp- J— — 4=^ 1 j P c k —- « = r - « - , . J 1 J g m 0 F < : ? ---- - =--- Pf 'F SP ' u H t ) A ■ -td- 4=4 - #- d # , . a _ , . . ? " # ' - p 4=^ f 9 ——J — ---- -o------ -»-p-r*=— — - I b- ® - » —1 -- , H9-4f— --- pLu 1 1 HÏHM»--------- (àiiV cr »- • j o h— 1 1-1-4.J : H-.1 1 1 n 1 — É-J J —m-#- ■ " # .. L— ^ [-'/TT? ^ = -Ai----- J- W- , J 1 .^ r —f- f Ist Æ-d-4 r T ------ r - ^ u I r r r-f Y T ' . . P u k . ---- ' )C/ - = ----- b i » f - f p- p—^ ------^ _ — 9 —^ fi \,K *- 0 ' p b g b i a _ B --- [yp „ p -*---J-1 Y— ^— h = r r rrf- =M=# H t ) r l > r - ' - : = = d-^ 9 ---- H=q =i==±= L l ^ T \ * - f ~ — * * Ju f p 1 J d , » ' ^ = 4 4n ® b 1 H t ) i k - —---y ---- - #-pr - # - F t j > . h J ---------#-a-i . . . f c l j m jBt> -#*-- — — 9 --- # p ~ f ----• k » - 4 * y— ----e irrVf" ^ ^ l > k c -------- 9 --------- 4-— ' ---1 - tt=4= k,., . 1 . ..d . . r * k f . - ■ —k s . . J ■ ■ ♦ T . -^a» u M \ ^ t / C ^ ' r k -- — 1 9 ---- F - K •-P- -4 'T 1 1 * - è — ItJ— = — w a=4=1 ^ T C -6-------- -f— k- 1 ... -------- 9--------- tr r 4=4=1 S.& B. 5541 20 - - J - 4 =#pj J - J - t j n i-:= l - p —t w = :i—#_pu W = 4 .. ' # ' ^ ^ 3 . ■ .. . . . . ■ I ^ = t = ^ - — p-^- - - U 4 — - T T ^ = } 4 J J ^ LJ 1 H = ^ -p— I 4P-*—^ — w = — k^ - = 4 # - - - - - 4- t r * ^ f H — LJ- / ^ —J- L 1 - p p p 45^^—^ 4P -tk-- - -E j J - J— d - - - ^ 1 . J-1±L - - - dU j_IJ - - - - - - > - — Jii] f : 4 ^ ^:rk- - 1 - ' 1 . . (in J " ^ r - I :. . ^ " r . -- - 1 —rfir ^ & - y j — % > ..( j r |, , . . . 7 Z V A m m m V m M ^ - - - - - - - 2 pj. . . . . . . . t . -- ^ ^ h= J _ — .1 . 4 4 ^ - ' pF F F b L -p — 1 # - -# / j - - ê è 4 \ * j r t t . . . . ^ - S - » - - - - - - - « 1 = ....1 ... ^ - - - - - - - - -# L-T1 LT Æ 4 : 4 J ] ^ V • - P 7 0 — #- * ■ . P - ~ m -o- - - _ - - p — 4 [ rn r - - - [ J 1' -p -P -"- 9 - - - 9- - - - ir â - - - — * — b * = f = — #- p k-f ^ ' p a ^ T ~ * — ^ ' : . à — - 0 — m - - - LTI [ =W - - - - - - ■ * - P -r 4 r : , * J -4- - - ^ - ^ à z L lit) i> i i > ' U 4 .:y i. 1 ;-] J g= # = = m - r i_ P _ 2 - - - p _^ - - 1 1 0 1 1 4 >■.. WN)- - -tiirrk ' V -a- F _ Ë _ g — m . . . : T _ r . , T — - t - r T T M h - # 4 r 4 = ^ 4 = f -J - - - u -p . , = # ÿ rj J T J-J- --a + F - —H p - J — ; - , : . . w = —i_p — ( i A r j= = : -p--p — # * - l ■ . : . r-n p ' ■ » _ _ _ — 4 -- 0 - 0 — m - k z - / 6 ^ 'rk F - - i —« — J- ^ . _ - ' - p r ' à =w= t = + 4 — - 4 J i. . . . f - ' ~'c - -4 » P " " ^ -=M =Mi * * T ^ - - I - - p - — 0 - — è J 1 f • 0 p - z % : 1 # . 3 — 4 - - - ^ , p ^ p— - " 4 % ^ o f t -jjP -A — T " W = — " 0 - & - - - J --#- p -p - :=& = - T r f f f 1 - -tf- r f M : W #=4 * - P o - - — 0 - - - -»- a- + = 4g^k •- = # J J 7 H . 4 - 4 L f-'ip — ÿ — 4 - ■ 4g~T k~ " — « ^ ^ f à 4 f'J--- 4— — & ----------- = M ' r. W - - -(g7k,. ^ p ' f ^ 1 » ■ f ^ - - - - - r-f -yj ■ P - ' p r - T > r #1 . 4 ( ^ ik # -e ----------------- T P ------0—m • ........ - 0 \ - O ------------------------------- 4 = 4 = 4 : 4 . 4 1 j 1 4=4 !F^?r=f P 'p .. - g — . I..... -J- 4 - r T r"~ .4 = :k — [n ^ 1 -0 ----------------- * , ...J ■#-------- 1. .. ■ V ------------- 1 — 1 - '1 r 1 ^ S .& B. 5541 - o ------------------------------ 4 = ^ p— p 86 a w 21 i â B p------ p % i r - : g P-* m -o- k f i w # B m s; g Ê J Ê p_ 86 # # t e M M L j r t m p — p m p B m # m ê # f -O- -O- -O- S a # W- ? « f- —f # J- '1 i i j # i * /aa W ■ o # tï j t c n Y - F t Ü J yr\ tee: 'x- 0— m -o- P=F g - p g # # K # i k = i 4 : w. w : . m J . - %r T r : w — 33: -o- / T \ -€>- c\ # c\ m s . & B.5541 83 S I X - P A R T C O N S O R T S U I T E S Suite no.l in C minor (a) FANTASIA T R E B L E -- " 3 9-- -73-- (9--- < 7 - m ■ ■ ------gj--- ■fro---- _3— P ... / --------- # -------- -p:--- ----- « 1 -f ^ - «/ 1 i $ A r r r - ----- 1 1 — ----f— -d 4 V -ëL— W - f c 4 = N < ft* " T -9" k = H -o-------- — p— -É9---- -- z^-dr(|f:: L, il» ™ -»■ -4f-r V 9-- -«------ ' . . 3 . - , ■ .. _1------J_I -a J * ' ■ 13j- -.:9«.' f VIO L V IO L BASS VIO L V IO L I I -O -------- — O.----p. g i i ORGAN -W- i w J/ so 15 XE jQl S .& B . 5541 25 33 30 k — - o - w m ____ t t g É P # # -6M- P B V J- J i a W ; p “• » Wr # # ÆJL g g: 3T ¥ f r P f ^ ^ r r r r A 4 < ? ¥ # f W O Ê . ai. P 2Z3ZZZZZB 33: B Z2: - o - Ê S # z?T, : I. m V Zf p & - © ------r [f f r 1 K j J J 1 - J | - 1 kg----- TV ■ - ■ ■ [ r ^ (c):,k — c» r ' — ^ f j E j r o — ' -*■■-..1 J :- e-------- T f r 1 ■ 7 : • 1' " ■ ■ K • '■ " J- S. & B . 5 43 . . . L 54J P - f-- — ©-------------- T T ©.'_.' : .: . . . . 24 ZÉ=±L m p m m - 3 - ^ m # r r J m m p p f = ^ w _#— # B # # # m p P z P . P z ^ ' # f # W -6M- B i # P m k - . -k%- f S - é - & - w # r r = p ^ - J J. s. & B. 5541 $ 55 60 ff-\T tîf # 25 - 0 - 0 ^ W # m i À f ü". r c P w m â A - # p- j > 6 # m # # k--4 -J- -» J:' - J J m & â E - tf f- t f i i ^ j ^ i p é d à À Rr- # # m 65 P h . r n W ¥ 4* — é P W M B g m=g P 1$ B m . 0 — m 0 g A =F=#= : J f —.. m: S.& B. 5541 ze a / ? N - o - -0 — 0 - i^Lk É =: I C\ # - 6 > - ^ i ko- # ,Lk f , . . J-] / T \ / C \ J j J J a - o - # m i / T N i J . J. -r a # 8Û a 30E TT I C T TT TT S. & B. 5541 (b) FANTASIA TR E B L E V IO L I TR E B L E V IO L I I ALTO V IO L TENOR VIO L BASS V IO L I BASS VIO L I I ORGAN Î 0 15 M - < 9 - A .o _ g a M â 1 $ 0 M0 f ff m - JJ3 ^ J « I]' r ' ^ t r - o - r- zT S.& B. 5541 2S A& w y 0-m-0 A #«- o % #—m-# I B a- 331 # # — * r~p=i^ ê ## i W g % ...j 25 30 '--^)P x.— n ^ -- - ( ?- - - - - - - - - - - - p 1 ■ 3 ■ -f- - - - -f - - » 4 r _ 1 b * = J j l - J - - -a ^ é i i—^ — rf tjj- ~*- - - - - - -f A f r -■•>- j ~ r— T— i b m 4- - - - - - - - - - - - r- - ■ H O l.k f - - - - - - - - - - - - - -1 9 - -# — m • - * b f *-»- 4 4 ----------0 - — m ...a g -f •- f -m— 0 = # -.a<..«-gU 3 8 - * ^ — U ^ - i V - - — a --------------- 1 —f- — #— lu J . « ' - 4 ^ . Z \ 4 : . i 0 0 ml. w -■ V - L - U . a :^.;„ 'E L # = 4*-^- - - - - - - - - - ->1-4 J - p # 4 = ^ i * “V — t—.^_ _ _ f 4 p y "Y ^ - b l > - * = H g U — ^ r c p U i ^ r [ T « f N ^ jiP -ii » - r =p=ŸM i p ^ = i = = = = = = = = I ~ ÿ Uh,------o----------------------------- - - - - - - - - - - - - - - - -F Î 1 K- p 4 ^ -c , L W r - r - -# - - - - - - -ÿ— ~ f — T— " - » 4 r — # —J — 1 [T O J> , J — J - / f ^ r r J _ , . . J - j . IjJ” 4 J A f 4 4 - I =* y = i r [ T r V # -tr^ i ^ = P A r y c £ ! c r ■Ul.. " .- - S.& B. 5541 29 p ' r " - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1 - P h - - - - - - - - - - - - - - - - - - - - - - - - - - — — = - - - - - - - - - - - - - p — - * - # f # - f . « - I - - - - - - - - - - - - - - - - - - - T ~ r r - p - i - 1 g | , \ - ' ' - f P f M - - - - - - - - - - - - - - - - - - - - g p — - # - - - - - - - - - - - - - - 1 - # -0^ w = % 4 = F f = f 1 - - - - - - - - - - - - - - - - - - - - - - - - - - - U — —é- - - - - - - - - - - - - - - - -M-00 J n H I 3 8 i , k “ u * l j = i = 4 j : J J J r 0 »-c4 l l . - 1 ® — n > i J - - - - - - - - -* - ~ § Î V P - - - - - - - - - - - - - - - - - - - - - 3 « i - F = f r g f T O - * M ■ * - a — n J l T l - i T r 4 - - - - - - - - - - - - - - - - — p - - - - - - - - - - -¥- - L - - : ' : " ■ ■ t T . j g g , i ^ . : ~ r W f ' - I - ^ 1 _ » . . p - g - - - - - - - - - M = # = 4 - f i j — = f = r 4 -* — L r i ^ r r T I = ' = ! = ! = ” 1 - . . . . . . . . . . . , ■ j J - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - L : r - j — j - : 4 4 3 F ... .. . . . . . . . . . . . 4 t 4 , . . : : _ - p - - - - - - - - - - - - - - - - - - - ^ 1 * t * 4 # 1 1 ^ J ■ ■ ^ r i - r r - * 4 # r P - 4 - j ^ - # = : 4 k W m - - I — # - T r r f- HtiA- ftr 46 m # - 0 —0 - P m I B ■ 0 — 0 - - ar'"~V' " = - y4f- C\ c\ A T \ / r \ / ? s m tr^rtrf I# - I ).- ■»#! ft _ r3r r r -# M 0 - / T \ =0= r\ !U-f-J' -Cjl- - ■ f W S.& B. 5541 30 60 m 55 B i g B f [S S M g # * W i a m ? # Ô < ? ^-kK.— -r ■ - n 1 ^ = = r r \ 0 , _ ---ff-*— k#T a [jj^- ~n----->-- ' 'f 4g ' i , l » . p----j * > ■ ^— m--0---- . ■ ■ va 4— — ---U- .r.-.y - f4 -•--9-ra- ~f— p— = d jB'.t )»- 4 ....f r . m * ,1 f e j4 ---: --- — W — = r = ^ ~K --- ^ -... f ^crf T n T ..Lri- ^ ^ @r[k..... - ..... - s i ---' --K — ----1-- : -- U V -g— d___ ...- ....~ = J P---- #-rf # A4 # f=Ë - r . f s Y r T T - g P s. & B. 5541 31 m 65 70 a ■ 0 - ë - É m -o - f È r t f ^ c r ê m p f X3T m # 33: m m é a # T r i N f f - J i i é à T T # 33C \> K - j J É 75 # f é $ 33: m zzz: * ï G^' # * ( g -- / 7 é f W m W r / A I j j j l -p . . . . .^. 1-----© --- ^ p J: -...1 |J J i - r J j J J i i% l,, - ^ - - } A j J : 4 = ^ J j J 1 = Y T f ^ r i - - j j ] i - r r - i - N r "r T T " 4»' - ■ M.,k_-----= r r Y ■ ■■ 5.& B. 5541 L - ^ ------- J- 38 ' - Ù 1»;--------------------- w ■ ^ ' i K ~ - - f # -H P ----- - j P - p - fc.----------- - |P f ' W O B j P ' ■ ' 0 M ------------ — I— # --------# p — ' ■ y k - — J — T - P i- p — 1» p p ■ jp-p— iS M — f # ------------------------ « 1 — ------------- .......~^à'm'0'f - U X P f - - V , ^ i " p - — r ~ p ' ^ - : U h f V . k : : - : - :" - = J J # = p .j... - p p - r ü m : ! ■ : - ■ ■ ■ L I I J . W f T ^ r p i p i— J # = ------------------- \ m ^ : f : - r • t = N - « )-- - p-- M = T ’ P ^ L-1%' | S L F j: . ^ t > i > - — (^{i, ■ " ' r - M f ■ „ : r . . 0 . ------------------------ --------- ^ 1 : -----tifyf.p f rr f r = M ^ ' V^ b . > y — ' { -■*-- t i = ^ [ — ^ --------------------------------u ..............- : | l U l f W i -4— J -------- ^ 3 3 1 — *~P" ■ V P # = j T n • r r r i - i ^ U - r%- ' ! .. . • : : : : • • * f : . — L L - i -..-J ^ ------ H r - T - - — — ^rrt # = - r - r^z= : T ....... :%f3j - J , ^ ----F---- % , % Ÿ 1^ & # # ! 1#L W p m u i - # 0 0 ^ m w i # ^§...J[jg=3^=: # r r riM f W r S.& B. 5541 33 96 s m m g g m tbfr f 0--0 m # # f Cjr ::^r @ s S m m ÿ A ,— k o - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -T 7 7 — - - - - - - - - - 1- - - - - - - - - - - ^ 1 J 1 ^ : : J : ; J n ( g | l > , ' j . - - - - - - - - - :- - - - - - - - - - -*-i- ^ ~ h i i J . . . J J J J g - - - r , « L . r -M c :,. 1 r r n f=#= i . _ _ _ _ J - ■ / 7 .. " - l - S ; i > . . i > - - , - ^ _ - _ _ L J 1 r _ r . . . :0 . . 0 _ 4 . ..._ 100 105 -Wr m s w w B ËZP'ZP # m A e % * #=F # m m m ^-LQr^ i kz=4 Ë J . n.,j;c :Tj _;]j -k% m m f S " r tr r C f é = ^ * â 1 S r f tr f' tf S.& B. 5541 34 m St. X3l - O - ISO / C s ¥ # # B ; é I # X 2 . % f g / T \ # C\ a f w xr f c j y # # / T \ S \ ^ m m te m r f U f # # i t e S f Iff r T- r #< f ,S.& B.5541 (c) IN NOMINE 35 10 TREBLE VIOL I TREBLE VIOL II £X ALTO VIOL TENOR VIOL BASS VIOL I BASS VIOL II ORGAN 15 SO g # # _Ck_ 32C xa_ i m « f i-- S.& B.5541 36 Ê 25 O- 30 ¥ ¥ # # # 1 XX. XX. & i2 1L i t e -o- kr t e i j - - J j I J = j B m ¥ r ^ — Xj- I # s £ i J J Â X j . i . ? 5 XX m XX XX XX XX XX S.& b .5541 S A i 4 2 __ 50 A i 3*7 A # # # k J:.W i # W f # « 3CE A w M A ' U É . U U - Ji' i i i i J' J J A X3C # o - 60 Æ L XT m o s.& B.5541 V 38 66 g ,h , T T- JA ü — o - ............. < > „ . r- - L , c * i.f...f^ . . . ^ -l»tk— p---- - # -#-0- m , J . 15H. : 4t)ik • ïf=:M= 4 D J- j]-[fl4 ^= # 4 1 J h JT T ir -=*-M -,- - F ~ • ' i s - -r.--f- fTrw— ï— < • % J » -z ■■^..jrrTLL j: ^ ■ - flTTT'^j J J . J . - g ?rC T — ^ ' J ---- ■ jL |:^ AfT-e=f:Pt \ — / l;h ~ --- - ® - y - O --------- ÿ - . [p - -o- - 1 : o..... f ". p -k ^ '^.. ■ ■ P ^ J ;-- 1%?'" ■ - "4 0 A p ^ i = = _ § ---------- f = 0 m w - - CT- T- - L ..r L - , :V r r ^ l » — — 75 P p i R m # m # m « # S.&B. 5541 39 80 S X . S X S X m S X S X 90 ■ ■ - O 85 S X Æ S X S X S X S X S X S X S X f f f - € ► -o- -o- S. & B. 5541 40 95 -&■ J O . XL XL XL XL O. 109 S s ü r r P * a XT # A 7 t - f # F g * mg ^ - i J : # _o_ # i f = e " j' # '(gfrTf S.& B. 5541 41 105 O 110 o xn a ,C\ w a % r 7 \ w i # C\ W = ^ #8= r = T r=Tr & j ^ z J z z à ^ i i J. # ^ = w f s. & B. 5541 43 ( d ) AIR TREBLE'^^^^ VIOL I l: #— m--0 - TREBLE VIOLII ; ' r r r r T j 0-0 ALTO VIOL TENOR VIOL I K g af . 3 - r.jg3e m j F/OZ # # . 0O # m # O R G A N n w J-.': ..jj F r f f f 10 16 a___ ' f T > rr- f ^ ¥ # jSL 0 w # I 0p- # # # | 9 # 1 ^ # # g É m A ^ a a m o - —— g jE=e f i = ^ à i $ f r r w ^ C r y r r' tr ^' ' S.& B. 5541 43 $ M W m £0 P I # 0 # - o - 0-0 za: 33: s # # - # - / T \ É P J k " ! , ' ■ ' y r f - F ^ f w / ? N | i i/ # - o - W / : \ ^ J]j. ; ■r m : H J J J. ; à ' i ik. -— i> cjrf f 1 ( H r » ■f # 0 - 0 p p p p ''• #- p -0 0 0 0 1 p r " FÉ#=ffi » — =------ ?------- — 0 -1,.W # 0 0 -0 - p p p f *-»-*-»■ 0 0 f -0 — wnt 1 g i> L — '- :rp-»f : 1 --■ --- 1 L T'" — O --- L p p p # # 4 m-w-m-m- ■ 0 f'-# #- -Jg -tV — r 0 -ill f ......... -------- rYff" a^4 #«— r 3P— [f f f f 45^ k--- (g rjx p —r^ —r~ # = # ] 3=1=113 C l ^E=E= P k------— ---- U— 0 e--------- T Ff= ---«P*- bf=[ —o---- t= N 4 j ^ b V--u 1 A— , - U - l-4 i-0-SLxr 1 a - j. - 4 ^ L - o — o ... 0 0 » f - ------ J j J J ~o ------ r* #-p-r #-' r ^ . J I . - o ------ r«-----— _o ------ W # ' f r 1 1 LIT 1 ■^rg— —o--- — o --- ^ ------ N r f 4 4 U -o------ S.& B. 5541 44 35 40 m r e r r c r ■0-0 - -O- g iê: te: # : f r , m WE m # te f f --------^ J h, - 4=& P^ 4 1 4 - < - p - i n} — T J J - l =^5p2J2^--- f^rlr----1 - -t-t-A I t I T ^-j..j A = # f 1»- r l|^ : ^ j,: l# s^ . ^ I » l f^-r M 4^------- ^ prAr— -./r ^ f f f f 't-0 .k— 0 00 ^ — 00- -P---- w- 1 —o ---------- r "( A 1 46 ... 0 . __.Y2^ #... I? 0 — - — æ # ' - n -1------ — u _ ## M 00 A s # o r\ 1 § e ÿf r f - # é g h( 9 - - P- # - - 0 0 - # -o- k-lj |W -0------ g ---------- _ J t ------------Q---------- .—(*----_ # # A g A ___ i A S.& B. 5541 f ' f c ^ J '• J / 7 \ / T \ / T \ 3H / C \ m from Suite no. 3 in B ! > major IN NOMINE 45 TREBLE VIOL I TREBLE VIOL II ALTO VIOL m TENOR VIOL BASS VIOL I BASS VIOL II ORGAN 15 10 -o - sx a S.& B. 5541 46 m o -o- f f f r 3Œ 26 30 U :.k l. o ^ ---------- 1 - ^ - -------------------- ^ ----------- f * ........................ . -o -------------------- ^ ----------- -------0 --r— , --------------- Z Z ::^ Z^yJt--------- - — -..... à) m i t » » 1 » *— r t . ^ A ? ■ ' J f \ :p — g —0 — * — 4 g - l ! -----------p ----- l < = L _ 3E^.—: ^ ---— .. .......... > J J J T ^ r r r # -H , 4 • n ..... - 7 3 ' ■ ■ ■ 4 g J i _ ----------... . - ^ 4 ---- : ■ r-rz.1 : — — ---------« J -------- ---' -------- ~ f- - — p ---- j - - ^ j 4 ^ c J r...... -J-=--------------* ----- ^ — I * —0 — P — ' t . f ....r ........... i , l > o -o- y y r W S.& B.6541 # 5 W î cr r r f r r J- J y J] # \y f ' f f m 35 4*7 k- O - k : . f ^ S # W # S # # i k O : # i - J ffi f T f w m £ -> ' "^. . -g- f -- .. . # É m # #o 31 P f w n i f f w m M S.& B. 5541 48 i âO j s x : 0-0 I K H - . i:. : . | , j y . w B # k#' f _ # . 4 K - £ a # # F # k#r# - # e g f T T f i W r r - " c r i i J 1 f : ■ ■ r - r m * W iki J . - i W - 0 0 55 m # É rk"— - O - # É # f. Æ J Ê . g - o - i---UîS - O - É É a f-ff' ^ - o - : # pp# r = f f £% ^/=r m A # ^ = r r î J /333 S.& B. 6541 49 m 60 m XX - O - 3bË Jf_ff 65 * # # — f - # - A 70 m # - o - -o- B m # # ! > • J T P [ j - J m æ $ # g m m -6^ -O- _ o _ # f # # i J / g ♦nr— "'(f— 1 S.& B. 5541 50 m 75 XU [ I ? -O- - o - - o - # m g w É ; É k i»o - o - s g 1 w i- m I f m -0“ W = a -o- - - - - - - - - - -- -- -- - - - -0- - - - - - 1 .. « -o--- 1 ^ -o- - - - - - - - - - - - l ^ y — o - - - - - - ..... J 4 grit - - J - — : - n J r r M ^ 4 = — pt--- f— P r t r = 4 # J ---- J- T g ~ l,l> T ' _-- - - -4 ^ _ ._ .^ 4 z _ - , . . . ,,f a ... —0-------- ' ■ ■ • ..J . J n i - zL- ■ _.— - -fe)î ■ k ------ - - - - - - » • - - - - - = £ ^ r f f f # F = # Wzj# F - Æ ---- = 4 t= -#- - f f #- . - Â F = = = --- S # # j ] ^ _ | - - F - = » y = _ p p . -- p— P ^ T îîLl: 4 ^ f i l / T ~ r - 0 --------------------------- ■ i' e r r ■ - o --------------------------- 4 ^ = 4 1 - 0 ------------------------- - © ------------------------------- : f — | j ... r r r ? M J---------------- L « i— U : r 1 = r j ^ j r = 1 S. & B. 6541 85 m g # 90 A 51 -o- # # ê # a # # # P S I r ^ J > : . >> . r f -^rcjr - o - A & P W i f S5 y ^ { j f - - . . 4 d U * 3 = = J ^ . * . . . : -o--- 4 : ^ J • J- X T -0- - - - - - - - - - - - “* -- f~~* P 'l * T f1 ........ J- — 0 ----------- T ' i k ) | > 7 > ! » - = --- # " - =M= r i-- ' * f ' « P * ■ r ~ , , " ' — # 2 -p --------- -p ^ ----------- 4 . p-. - f - t f y r H 4'j I . ! » -..— = # = 4 - - . * — < ^-----a — —0—m---- -p ^ --- r = N —r P T ] r r ' L i,i.- j . — r i = i 1 M - . r - -t~] #-- 1 = f - ,T _ .^ • ." w — « 1 — ■ — -J- - 4 ,— 9-r fé^t ..: ■ -- --- #- # = = # ~a~ - - - - - - K — I - - - - - - - - - - ! - - - --- ^-- p P - f : - { j < > . . _ jf- . f ■fi*1 » j. ^ — •-= -# ■ --- * ■ 0- --^-^- - - - - - - 4-*---- « * — r-^P'L>-y -■^.: - -j:--- L » d- - - - - - -0----- : - - - - - - - - - - - - - - - - - - - 1 -- - - - - - - L-— — x> — 0 -- 1 g> - ^ f ô i f i.=~ = 4 e p = p = T = t i = -W - - - - - ^ ...... r- ■ c r - r ~ :J- r - ........ tf- Ü- ^ J l r T f — — ^ - - - - ! --- --- ^-- * » T n z i r S.& B. 5541 52 100 - o - - o - 105 110 o o 3% IE X £ t e XT T T TT T T S.& B. 5541 53 SUITES FOR DIVISION VIOLS AND LYRA VIOLS Suite no. 2 in C major for Two Division Viols and Organ (a) PAVAN (cri a theme by Alfonso Ferrabosco II) and DIVISION VIOL I DIVISION VIOL II XE ORGAN . :rf f |f f r 15 10 m éééi £5 M î f m S.& B.5541 54 |fflt-^|^,,pi:,::.gf tfrTfp -# #F *-# « f J L 1 — ^— # a # ■f # Pffl \Z/ ...... . = = — :____--------«— -Hisis:"'___Bs: z— c ---— — p . - p lEü tf —^. J -j- -f^ ^ ..------ :^;- j---- I J ' J:. — J ^ — r....f^-". ■ --- ^ p = f = f = H ^ ■ - ..: ± ' ~ ^ y. j: 0---- ; ^ ^ y r . . r - f : T . 1 '" ^ i " # .* ...... i;? n n T l 5 -p . 0m .r .. - r L := F fr Fff f-tf rf frrrff rr / C N . i , g - ; - ' ^ - - f ----P =:^ frf r X ■ . S : - ^ = = = = ~ 4 $ ' ■ ■ ' ■ ' - ^ Is ..— =1 O ___________— Y ---- p - — - Ô ------------------------------- < > sr ... - ..... . trr f M p m f c i - f f m m r e r r r # J J * à 'Û J± & @ g r f p f f i Bi * # # # & 5 N 4 a # C\ ■ O m / T \ t ' ^ - r = g r : f T ^ m r T ^r hU I / T N # ? se: w f ^p ' . — f~ f T'f' y t m . . — r rf r rff— ---- — rffr ycf-j L :H * -r ftffyf# " T ' 4 — f ■ ,r lT \ J !t m m P=— # f ' 1 J T T " ] ------- “ T ^ — r rr-p — — — « J ir^ n j J ±. -- 7 M - —.r - 1 -»- / ‘ 7 • J |J -------3 — g — — j -n J — = N=^ r 3 W r - — . f , r J. — C * [f ■ ^ - P- y — .. .r^- F ' C j T p ' r - f - = r - : - ..r - -o------- T "— r * #=ÿ= H ^ - ' - ....F " 1 I l r f S.& B. 5541 55 p / r r 1 -=— f ---M — f ---P---f ---*------- ----— -------. p- . p FI (rk f- , p r r r r f F t - f ~:::-* f f ' f f t. r r r r l l L j - r r x 3 ^ -1 #---- b = i = » - # \ l - i :.■ 1 ■f---------------- ^ -------- w ------- - n 'j ■■: J J 1 ............ - L f - j m n P r 1 ..4 -------------------ÿ - i L . . . . . . j i ....... i' n J 1 r - = f — 4 i i i!— 0 ^ . . j # Y-..j»— ] -# «^ p»-gB555ga ' " " m-’m T . ■PPI - » f f f M ► - f- - 3 — —0— p— -► ■ m- -^waS;- -------- — j : : ~ r i=^ | : j:: ■ J J ^ r = : [ J , : , , j.: " J j, = / T \ .1 . - r r = " r ' = L 7 r ' ' r . - -y— i— i — ^ — C\ . ' ( § • ■ * » ■ - ............ 3 î 6 : : . p - .. . ' - r p 7 0 f : : .rjgppfrrftf itto rrrp p p ffg Æ ^ r 1 #: m rfrff , — --P — # # = ê j^J-t-j -0-------- : i— # ^ - p ---- p - { , ^ lir - p f r . 1 j ! , : : : J J ' V ... _1.0 P T : J J J 1 r- • ...... ■ ^ = = * = i= ^ - :r -0------- 6 ; W . . f 4=N= ^ u J J " r.' t r — p . , J = V / .0 . . . . ... ........ . . . — = J ^ T -f 1 ---- J ----* * " ' 1 J- i S.& B.5541 56 y-y p--- #------------ f p J,,. 1'— 3... ■ zzzz I g ir~ , *------ - —. ■- f- w' ■ '.J a ■ ■ ■ -o- 4 . ' » (gî f rrp#j,— -i' I r r / . J I T ] ^ ■ " ' " ■ '‘ — = ------------- é ------------- _ p--------------'----------- a ----: — T ' M f --- p--- J**| --------- - J - p ----------------- J j J # . ^ .. ■ I - ...........- = ---------L 1 ^ — #— J # 1 1 - y te- F ---------- ..9 - ... .f ^ ^ ^ '---------- J--------- --- ^-O - -i-£--1 ------------------- Cl r r 4 ■ ' ' ------------------ -—- ■ * > |-g; ^ ---- - ^ p '----^ - / - « - = ------ »p-T---- -J J-J ■ 1 ? 5 _ ----- = = = _#' — j^fp-ifpr F f f f ^ P a g - f ^ -fl» ------J #* --- f- -JJJJ L j rr^ ^ rtrE c C T : fsll- . 0 f w A Æ Æ #. , - 0 j - ( f K . r" ejjr ^ r j J J = 1, 1 ^ ....■ ^ =j=^fi---- P —---P f Lg>_o_- .,., = |(^d- ^ r f-f .. > ^ : J - J - J------: l i i. - p ■ ■ - J ..... ^ I' I' li' t f # S.& B. 5541 (b) ALMAN (on a them e by A lfon so F errabosco II) 57 A P ' 1 * r tr 6 f " -- f —r f " i ' N = F = f K / = : S _ y T i p l ( è ' 1 ^ J “ 4 ■ r ,rp> 4 # = $ k## ^ffT ' f€frf 1 r#. g — — S * 1 -^h T -..= J — ! 1 — 4 _ # — é t — 1 ■ C u f ^ ^ ^ ... 4 =j= -^ —.j ' #=H J ^-F -g w H m ##4 ±ir VIOL ORGAN AI / CN i V ^ f — f-p— F--- ■ L i J-----é~ o / : > [[f ï TfJ - P-Lq : j 1 U ^ rrrn ^ ' L.t-[^- ---- g(__-- n S . . . . F 7 N - CT j- [ J----- ' t f r ^ Jlli— J— J— --Æî---Laard ^ J , ^-^-.-J..J 1 r M -crf— ---- F---- F ^ i C\ r-1r r ï /3 k T- c r II — w 4 i _ i Q j i z l 15 XSL g XX B £0 m S.& B. 5541 58 1 - f f | : r f frf | i P f f r 1r r f 3 0 f 7 \ - o - x» v^ ^ 1 1 1 - f ô : i-^ - Lr- r ' ' k = p r^j r r ^êf- f=r - p - •-< —- / T \ k = J ' - - )- - # - 4 = =f=F Æ— € . _ J- - - L - j , j _ . . . J , - ^ n j , . 1 -=t -k- iwi-- 0 — ik-. y. ( 7 \ -^5—6 - - è- k f . 1 j z : — : r r r ^ - LT r ; ; v - § - - C\ - » ■ ^ W < . - Bi -T " T 4 - - m - f —0 - — r > r r ^ ^ . r Lr iff f r f r ^ - j » - | 3 5 3 a; 4 V "h j ff % - - - - - J- 4 —J— u= 1 -. k ' . ^1 , 1 - j o j ,J J: . . r%_, . 1 . l rl q : W ; #= P - - I-- T" 'n ï - - r k k |<rlttff ff r A r r 1 lf J / j i iH j j ^ f f f f ^Frf Mi mr, ~ ( S - ^ -Lf p f - - ' ' é . . , ----- - -, - - r ■ ■ --------- * - -- - - m i ^ ^ & f-r -f- w 1 ^ w . p r ^ .-JTp c\ i - V i / -— -* r r r f JTf 7"'irr, = # f W r r r ; ^ J -J: - r\ *u— .. ij. j;^,..j,__..,| C-U ^ ^ y j=i #= L 8- 1 r \ - & - f -------tri-----^ — J— _— - J ^ k - ---------T w F n f -------C T ...........1 -------- ----- w -f Ü f f ^ P - f- %:r m p p- p-f-^^ kr k i"- J :_k H T- - - - ^ ^ . ,J--. J- k-:. k ' T pT- ' r-. î. f /- 'r- ■ f m [__r r 1 ^- - - 1 S.& B. 5541 5 (A: - - - - - - : ■ A m . g _ 59 S w ’ --: . . . . . m f r « p p " ' r f ' T ' f r f -f c f T — ^ - & l J J L g J J . _ . 1 ' - k _ _ _ _ 1 / 7 \ -p- i-.- - - ■ y ^ ^ - : J- - - - - - - f - - - - - - =;ig.-::^ /T\ -o- ■CT'. ■ ■ ; ' - ' f f - F ' ■ l - r . ' '^1 f à à à IIP p • — —1 1 f T f" T "— r T~ ' # (c - T- p m _ - 4 -J- -| g ~p- "F"—p— — 1 " l-iJ. ^ ■ j . . „ J - . ^ j : ------------- - - f ~ i— -1 — _ . - , . _ - t , . - ^ |. 1 • J ' k - - :- i - : 1 : . r : ' r : : k : : ^ j “ fô* ^ * p > • ■ ■ J • ■ Bii ' ■ • I V . —ÿ " , ' ■ ■ 1 * ' — -------- r ^ f F r f " r ~ ----------------------- -----------------------1 J i » 1 -------Ü~T— — -J y a- » — J------- k = J z = = = . < z f ] I ) f s - - ----------- ------------- t e l . : . i i : : : : : : : . : l — f H ?■ -— H ' y - ■ f = 4 M T y ■ ■ Ljil. ^ . : .....j ^ _ . _ k . , . i S . & B. 5541 60 70 --f — F T ' | " 1 --T [ T — - ; 1 J J . 'c J 'j= k L [_ L _ L .i_ = i F=t=^=— f ... - j 1 ' - -CJ F ... = T l ' " : -------- -— # ---- B iii r ''-fT = ----- ÿ #-# tr ^ .T ^ . f r * ~ m t f , „ j = : p ; T ^ ^ = _ Z__« . , . , j « _ , „ _ _ g P S T P f U =: # = : ... r ............... ...... i T , .. -- - ^ M _m _ ----------i j-J < ■ I - * » . . . W y-jH- 4-.... J - 1 J- ■ • 4r^- : . : r-=è~ ■ y = i # - 8 - ---------------- =: = - * 3 - = ! » '< jk — 75 £2 i É . f T f r f ^^_:-^..-p-..^ ....-^^— |»-f-f^-.: --- h f . r * , „ 7 ï n /T \ L f r r r f Æ . i . - f f f r r r f f T f r.f J ► yi»-,r - ---- C \ 1 j J J- = J ^ - ^ 7l h l'i"- j ■ : --J -------: -- I I . — P it = ^ - - -J -p .- C \ T ....^ -C L . # ■ ■ : - = = = - M - ^ ' 4 s -o - ©_^— p — r .... - . - - W ^ - : J - — . _: o s. &B. 5541 Suite no. 2 in G minor for Three Lyra Viols (a) FANTASIA 61 10 LYRA VIOL I LYRA VIOL II LYRA VIOL III J m 9- 22. J5L y— T* f - e x s - I f ? /5 < 9 A A _2L f k # i 1 1 Î i m ■OO. m f^r # p r O O XT J r— f— ^5 r r # i t o f i J t o - = 4 ^ lt_f «Ta f u ■ - j ÆJt J r - ■ 2. 9-- # m g--- -J- t o = p # # j T r \ **= * #.# ^ 9 jt- . ■f .~a ri f ‘ 'i C^' f - 3 - t e = p t o — toj I , 35 i no #- $ # m 1 t o # 1 A. 1 f J k # t o m t e 8 45 s. &B. 5541 6 3 1 J j 1 f = R F , . 1 J r [f t e 5 P#: " ^ * F f 4n ---^ i S - - - - . 4 = ^ i r t ' r t e : p = # # — F - # 4'1-d- 1 AA ï ~ i f 0 : # ^ te-i^= 'rrF J -f-i y4==F: # ' # ■ # J f t e If-- * -f r - F - 1 ' Ù p # --^ --- 7 -9------: -- ■9- i 60 -g ( 7 \ S 2 L t e 65 1 ¥ P f f = { t p -pf y— M ê r f p it i f # 70 #=^ # f T ) w 8 • # - ■ # f « S m m t e f f " B r r - T » " # i m #— » Ê:#r r/ ■ # “5 1 --“ “—^ 8 i * t e = — f — - f = t e = # ^ - 1 t i i # - , . u . . . , . , f f f - . J. ( S ^ I » ^ - -- 3 J J . - t e L # # te I f t e P 0- - - - - - - - - - 1 * " "M f - - - - - - - - - - - - - - - - - t e = ^ # 4 w # ' ■ # •...... . " t 9 J- te »• # ( 9 *-|> 1 » p _ - - - - - - - - - - - - - - 7 iJ— 1 1 - - - - - - - - - f - - - - - - f LJ # / < ? < ? :± /»« \ > ( i C^È f # # # # f F # P 1 f g — m # # f S.& B.5541 93 no ns 3T XT TS SX O (b) A L M A N C - # f ^ f.... t L . „ , , _ , . . c 1 f j V" a 4 L 4 .: j g » . . . # . _ =# ' h 1 —p ; f+-[-—# ■ J #" f — » • ■ ■ ] / - - — --- é = H 1 e . # rj--: ^ # # # r ~ - ■-ffc-f - m - I P f— #— f f I f p f r- r r ? r ^ # . F J ^ T'T -&--- f 3 p . . . J' '*’ " r ———— / t r f ~ ^ T"f'^ V ^ ■ J — J— ^ — ■ 0 ' — " ^ - ~fjf^r-t££r f = ^ # ■ ■ # 0 l _ . . . . c i [ ^ I K - I f f : ■ ■ t r r r| £0 Slow < 7 Slow / T V Fast jt s. & B.5541 64 8 HARP CONSORTS Consort no. 1 in G minor (a) ALMANE VIOLIN BASS VIOL THEORBO HARP ---»- B u rg; # 1 r " f - j -#----= ---m- -o- ' ' • n J 1 ---- /--- * ^ * — ^ ---' —f—\ ^ ■ W 0 f • w|>- r • * #. ^ - ^ ------- » gjF = F = w r f ' f F T * ”fff '# # = - 1 1F = F = # — L— ------ ^ P- - A T - ■~ 9 ■ 4- 4 = f Ü = i -#— ---f - -O------------- : IM ----------- @ 1 ---------- L t------ J— ■ y — w : m JiJ J U - P — WA r - , -4 4 - - - J f #+H - - a — # - ( g - - - ^ ---------]TT # ■ ■ -^ -4-------7 y — 7 3 7 1 % - s ■ ± = # -,-J-r-- J j w P=4= f.: L:,l,fffF-l*4=^ f - '- # "f-fM ? =te=SiF== = # # Fte-—-1 - J p — --0 -- - - C \ . :/3l ~ j — r - - - 1 : : : . . -td— t- # = =t= U 4 -&- - - - - - - C\ - w f - — ■ - - - V - m # = L - o - - - - - - 1 1 ; 1 * " " o ^ i - I - - - - © - - - - - ^ J -- r p- ■ J ■ ro” .. . . . - r > > * * [----p ------ f —- f — ' ■ -Af -r-.—J - - - - - - S.& B.5541 65 (b) CORANT ir VIOLIN BASS VIOL THEORBO W p $ m J - J J - y y æ p ' r r ^cr HARP y y i $ O) f r r _JÛ_Ji— .— #-4 ^ f f l tP---f~ 2 ^ ^ 5 ----- - J -h/'p-— -fi----? - U3 ■ • ■ Ê L..^ *'-1^ r---- f c - - ---------- f— ---w~ Yr^t, t > — 9----- -fi----? 4 = # -- : — J- W = : j J ---------- — -----/-J ^ 1 , f - - =M=4=- 4 = t !=Wa 4 = # r ----ÿ - f # ^ , üU., r" C - r 1 — ■ — — -----\t- Yr):,k- >*— p----- W — 4 ----; L '•gn'_J= 7^... - g." ■ W = » ^ -J- =f=fcü4 . . , . _ . . . . 1 /. - , „ ... U .. , q:-4:- - - 1 - F - - - ■ - - ■ - f - T"'~ ° 1 — j» f r r - T - p 4 -- f T f i ÿ--p-i»- I» ^ t - t - T F L ------ h - T % p - ^ - Y(^i b—i^ T T - « #— UJi .-J _ © --- . _ C X J = # = ^ ---- © r - \ I r 9-------- J J j . 1 ' ' - i - : i: - E F ' i r - A J9 /« y ) # • "S— T— — , N J. J . J.- 9 % . J - - J - f l © ^ 1 # r~ i #— ------ — L P— ^ J — = N r Y ' ; r ^ r + - F - { = f = 4 -«L i— ü i f— «.* ..J - 3 J 4 i - - - T fS h ;------ — T f " fr).| b -'" "— ' •r - ; I w---a - |--- *L.=---- # - P^---- p - r-Bh-----------— J 'W'- "' ......4 M -----ti— = f ..p ' . . . .. I . . . ^ 4 — p * p— W E s l^— -^ — ------------------4 II J n -in 1# 0 P--- V i *— *------------- r n# ^1# # j* ~ ÿ ~ * r-|#-# -----------: ---------- # : Ÿ r f r t f - ' C j C T l ^'T’t ■ w ■ V [.-j. T- ^ 1 • ■ . . ' p U f H — J© 7 ^ ----- fi'------------ 1-------- J ^ ^ - f P-----------— U -------------- 1 = # = ^ f = ^ . . . r j ÆiFT, - ^ Y---- :G ■ J — Â . . . 4 / 3 , -------tr- 4 — 4 f . . . ------------J - r - - - ftiiJ-.......- -fK— # r f r - ■ - - -f - 1 - i -------- p— — - — J ' > • ---------- r- r - 4 - -fiL---------------L S.& B. 5541 66 i g i f r #r T J , , , ■ ■ ■ J _ ^ " F ^ r fT m / ? \ » m # Æ - j-; F I T * m é é es 1 «M e ) - es M - f - f r i i i- W m M r r f ^ 5 ^ r feiè M : ■5>v- S.&B. 5541 6*7 ( c ) CORANT VIOLIN BASS VIOL IJHEORBO HARP m f f f - - - J j^-1 \ . 12 B A #= # © É P r r- ' j .- - ' j... - j . j Jl J P -r-f r T ' r f r 11 # # r f f r n ^ - 4 C\ f / T V # # a # i ~ë ' ' ffr r r r s. & B. 5541 9 - r ^ 68 SARABAND VIOLIN BASS VIOL THEORBO a HARP B C ê % A A a À____ J i j : J J A i A J. J}j s. & B. 5541 69 C o n so rt no. 8 in G m a j o r PAVAN VIOLIN DIVISION VIOL HARP _ _ _ _ 5 — (A:# ifa- > r - . -- f- f r r r = = = f ^ ^ -- *-- «9 4— J 4-J -4= 4 = 4 = d = ^ — Y R : - A - v y ^ip=| r ^ d = £ t i -f - > - 4 = 4 jp # F SM--- ._ _j_. "V~1----- -o----------- X T 4 ^ -ml 4 # = j f = A = P-J!-- d-0 - 4 - ij w 1 A " ^ r j j c -AS^r L o ----- 1 — # — 1 ' ^ ~B . : ® 'J J^ J - 4 - s o . —&----------- -&----------- 10 m *r ■ I ' i ! w A â f m m m n I l f -O. -o- # i -4- J14.. o r^'~rrr ^ _/5 # # II A a / T \ m C\ - o - C\ 3 ^ ^ i. i r e e f c A i zc 4 - 4 - s. & B.5541 •70 25 ri# r r 7 —^ 3 0 n s ^ . , ---1 j J . - J i-Jlrri 1 ' 95 * ■ ■ . 9 ----- 4— L— " n s - f - € i 4-4-i-T~ j f-^-j ------------- ------------------■■■* # --------- I ' i -ff r-ff> r * f pjîf - T n — V y ^ ■ ::...j._.............. ------------é 4 - J • - u --------------- [ c ^ i t - = j x r C \ 1 X L â» ------------------------------ f-r-^---- r - L J l-T -U [ XT ns a à $ i f = J J i T C\ -Q. Ü i j i J J --: -- ---—- t —* ' J % —* — J - J - ffrf - | 1 r R = ^ — è - * # I r - ^ L i T - * . ' ' n .. . t ^ rl .f W= # = S B --- 4-- - i J L # . , , . , r B _ . . ^ ■ - r - 1 11. ^ - * . -=i - 4. - -1 ^ - - - 1 # r « * r ! i- . - 1 J - » — * - T r ; n J J -J- — --* --« Ü --^ trr....# f - J J J f = — à f > J -n - r - ' ^ ^ " - ry....' s . & B . 5 5 4 1 : ? — :-[ p _ --- 1 71 - & ■ XT o DIVISIONS UPON THE PAVAN 50 m m ■ 5 5 & XT S.& B. 5541 73 Æ m n\ - * w - € ► 70 p ' (W:# { ^^!=Ê:-*—#--- . . _ft. - T ...... f f f . — = j 'f'\T'f'f"f’ if------- - f =1 -8-7---- . . . - ■ - . . (r):#- #-'--- f ^ _ _1— _■ 1 — * J-- R99 ■frfi •^-r- r f - j -o-------------- ---- * f f r . p . . . . . ü x r r -p - " = ^ -y«^gi£ri.-.. bit > J ^ ____ u .. ■ J ..^ 4 - - , lj. J=1 p .^ i. ( é ^ : # S : = i F ' r i --------1 ...... - - r C j T f ' T i - i - f ^ = f - - " - r i S.&B.5541 73 75 W - ^ r - f I ; ; v Ü = M J à I s.& B.5541 74 f -g r r 96 30 7 o -o - S.&B.5541 lO Consort no. 9 in D major PAVAN On a them e by C orm ack e 75 VIOLIN DIVISION VIOL THEORBO HARP XX - e h 15 n\ W XX m B J- V—, 7 j j- -TT— i -Ji r * A J 8 - » i_iJr # f = T f a* m m f i f e m 1 m i f f ,zi r f i i # à d À XX 1 &— # i m r = f r r s. &B. 5541 ■76 (ü'#, a A m M 1^" j | l - f r r crcr r m J- - ~'^- P & f f r c/ 35 m s 4 < ) #-r#-# A S A i Ê #=f# # r ( u i f f r r f f r— r m SX. -o i g A = f # T TT # # 5 < ? x> rx. U # 6 & # . -jg' r\ W r r / : \ f ©— » a j. ^ ■ o - - — T T xr C\ r r r-f T cfFf r i - r^\ w W r = r f r f i v - f T m r=T= ■ i i V i / S. &B. 5541 DIVISIONS UPON THE PAVAN J / J - — ' — - ..-n ' - t J - m U T = f giijip-Ti g ----------- ^"p » --#-- LJ- 1 _ : =---- ^ 3 r f f ' -*-- ÿ--- _ ’ t :- - ^ : ^ 4 r ■ . J . J J' M J‘ j«i f rET- V w 4 w------ ---- jp m c — - . ...T ftt. . 1 j J 1 -*--- J— “0 “..... f - t - f ? - - - - - - - -fiM ---------- ----- —i r"i - - - - - - - V I s>'' d g 1 { i ' ■ f A \ _ ,,A l. . . . . ...,.0 A r l r=-- « L # JJt ... # r. ■ O " :. - - - - - -— 9 - - - - - - - --f^- t i t r A i - — ^ W : TTT A s= i ^ . ^ -i i & A« n Ù \ ■ — 1 iT > n j ^ i r r t f f ^ r ÿ r* # ? r ^ ..- H ffiittii ' > f --: -S "" ' ..• - J --SB ™-i L ffF-^^ - -G f-.===== J. J = - r - ^ ^ ^ LlS s ■ ■ > ■ ■ ------ j ■ T - ®-------- q # ------- J. ' ^ !r ■ . ■ : - . . ... — =J ,Q L = ■ 1 ,1 - - J ■ = , ______q * ---- : j .....■■■Tp=^. # "3 ;..............^ ---------------- ^ '( ^ ' r - " sx . o ' ......: . r ..- r - r - O — : — - ■ ■ - - - " ' — 7 ..c? T r - .a . .f i. O ■ ■ - ' g O ...... ' O ' ■ ■ .... - S. <&B.5541 78 r ^ M p r f W r l ^ ^ F x l , n a j s & ' _ a — -------------^ = H = R F = m ^ r>i 0 # ^ - A # n ----- 1 fyffefep i-f-4 ÿfE — - T - - # = 4 ' q ,. . o - - ^ _ -------- ----------------------------------- z : J | ------------— ............. ... - jf. = # F = = = V « o f=iNr=T --------------------------------- 1 1 ----------1~----- . -■ |- : ■ : :: :: : :. :: ..... ... - 4 ^ = lzJ ^ . : . 1 n r - r - . ...... . 1 --------- 1 - : 1 z _ . . . ?------- ' i f F •----- = : ..... -«[ . .......... J r ^ _ fiL fJ 80 xy XT m m T T " X T - a XT” -O- P È r A i i' 'i i 0 C\ XT jçT T5^ C\ XI - o - # # C\ XT XT = < » - Bi ^ - d i ; 90 m X2. - € T - f S.<& B. 5641 £ £ f r:rrff f f = f f •79 s S e i l i f r'ff ’ •frf ^0-m J - - 7 7 .... L rfH v^T‘ | T n t - ' --*---—--- ■ -AWn----------------- f . J- - H --#-- -*--1 ^ .. . « J. /^M«— — d _ ^ J L , j -•--g qn 1J ■ - - ^ J- - , J-, =f=F=F J- J 1 )p? " ' ' r = 4 ""i r i = r r r ------ - ■ ^- ^ J À - .^. ■ . p j 4 i i------ : --- i . ?--------- ----- . r =. , , - ■ .; 1 'ff JTî' , . , . , . ■ . .-.J^ ^ = ^ r r = ^ W P " r JJ f #.#L . . . " ---------- iÊLM^ r - " # 1_______ " " - - - .— m t : • ^ = — F T # # m i i :g= i M L^ --- ? r ■CJg,r- .F ij - - ' * m -T?993 ' ^ " " - - . iif-.i r - { 1 _ f 0 f l’P ' Ç p ) ; f a 0 f f f r - ÿ ÿ c p : 0 ^ ^ j f c ( r y : # , i - - j i - . - J- E^=,:E EFTf- F H j = , --- 4--- I t t J -------- j ---- ~ _ : ij_. V. ■ J _ _ m = i £ ---------f • • f ' ..- T- - . ^ ^ J J J f--------f----F - ) ' i ' . ' r r ' z:^ T • ■ --'f----— J . _.- .... S.&B. 5 5 4 1 - F - ...r . = J - t -------- — ------ 80 ||A'lii|üUJ'[h|(|^igi ' P f ------- - J J JJ#J#J#J#JJJ#JJJ « 1 # - F j'F'-fjFf -... m . FrrY p #—f ----- #----------- hhr r - o --------------------------------------------------------------- -p ----------------------- » :---------------p - ---- é m Tr- A i i P ïSiÜœ-^ ► r T ' -p" m f r f - £ . S l f f 1 ' " ' ■ — #— J — ^ ff-*- "ffr^ —0— --------- — .rr F r - n i F * ^ " G ^ ' o A P---------- ! 3 ...... ^ ' T - - % 1 w — , 1 V ^ f t m # hj — r..d-— J T - M = T j ^ z i . --------- ^ r t = F = i---------- 4 j :A n ~ T ' .. - p - f - f u . J _ _ _ _ _ _ _ _ _ _ _à- .. .-■- ^ ^ ^ ---------4 --------- ^ .— - p — 1 .p#ÿp=~p, CI — rH— « r m .. ^ / - 2 5 » . ■-■> 0 - ^ F ■ ^ p p » ^'Wr JJjTJ ( J r\ i ; ^.# r F.0 - 1^ f P "p - j ÿ p— ^ T-f-r- # € = F t m -f— # — * " " Jj ----- : — L ------- [ r r f L i J = w ^ . f 2 . * — 1 - f — p 0 ■ f T" f ^ ^ L o = -ji — r - 1 \ ^ = 4 ^ . F C - C X / ü -o---------------- e---------------- f = ^ = l T ----- f = F r~c S.&B. 5541 81 130 -----^ — F' j f . :p— -- : - - 4 C 2 ; j t A- /wsti,-f » --- --f- f . . T > ■ #-:p:----^ — ^ ------ *-- ■ f —r~T ^*tt~r r f % = 1------ ----- I ■ ■ F f = t = ^ ------ hJ*l iL----- J-^— ir -.. _ . _ ^ r"' r i 3 _ e _ d ^ r | - - < 9 ---- r- ■ - f ^ T —f~f 4 ' ^ V y 135 frYi,■rPF rrrr o ............... k - f f f g f - f j ~F--- m f f f m--- - f r * -------------------------- .kp....... --------- 1 ------- V^ V tt-j- Zi — : - - - d L. ^.. ----- gj-------- ---------- % É " gj - bf j - - I n r r f c f 2 = = ^ i f - - - f c uc-f-r S.&B. 5541 83 f f 1 ' 1 ....... 1 c t , F W f tiifffffffrf — -- ------------------- ::z -- f --------- -— t—— ^ rrfrrF o ---- p '---- Wü o --- : ---- — — --- : ---- --- - ^ HlfllLf h^= =4 — «----- V - k Z iïj} — o------------------------ j 1 # |t = ^ L f i j ------------ s i— -- : --- : ----- j---1 ---- ----------------- P a l--- " j" ' T ^ .1 i - . i - f ------ ^ ^ r ...... :. -------- j ------------- L g ,------------ ^ ------------- T 1 A— ^ r r ' f S (iD f- p _p_---- 1 l i /Ô5 if #1 , p ■ - " ■ ' ■ > - .. ^ --- =i= = := l J 1 1 1 1 1 , l C \ J * ■ # " i » . # - = ' .= âkJ J J . r fTTTg^ / T v ! -- - J Q .ÿ --J -------j > p p p j > p pj-p.------1 . C\____ - — -------------------- |(g # K o ..... .- : — ------- — — m — “ - » — •.J C \ ■ ■ ■ V * g -------- f S.&6.5541 83 Consort no. 10 in G minor II P A V A N On a them e by C op rario . , . fS.. . 1 5 i W J W # = f = ^ p . Ff=y f -f- f >-p -j, ■ ■ -o - ■ ■ ■ r r t i i l i A ■ { y — —L Ml,,. - W 1 - :---- p- ..O...... 9?----f-- i # A - a------ iJ. - j]| _ _ _ _ _ —r— — g* ^ -< »— . . . -»■ # - ■ M ; 'i J 3J -J---- J J___ -o— — p . -S - - DIVISION VIOL HARP 10 m 1 5 i A i i C\ - J J j j: S i i C\ T m f m A i i i— J - ns f = r M •<Wîi^Uff-f j J - # = O ■ = p “ p- _#... . p - m . - w p . p ■ : ffTC Pr rfr - j 1 - ^ # j :f Y ■ - vy> ■ ^- ■ - # 5 bL - p - " - rr frr 0 * -----Z* ---- -. f ] p . . . . . •,, ' f c 1 . ^ - _ | — pY =f=f 1 . . . . F#9k t 1 L g 1 ■ . J1 1 1 1 j| -p — -----------A — -g] 1 tr ir ■ - tr r J V - -Jl- tr- P ■ff“ f r - f f a T r ' -4 - • -r-tt^f ■ ■Y=^=É=P S.&B. 6541 84 0 r-r . |j. — I ---- p----- ^— P— - = --9--- _ t_.:>.. - r * C\ /.V I . r t - t ^ ' M 9 ^ 9 S --P— f p # _ ■ . ^ . . . . -- i "p"P p-ÿ- LT ...C C\ L.^,1 , r f -f J — P— f--9-- r ---■ ~3~ ^ "f— 2— p -L,*r • Ji# -©------------ r> ' JP ---J - Z - 1 h J rJ n 1 ^ = 1 fj-----^------ , J J 1 — &— - / T \ T "r ' T " > (.«,1. f f f 4 ^ I l f r T i i r ' r ... 1 - = f - r ■ f 'is ir ; é ± / T \ r 1 . F-: — f ' ^ 4--- [Ç] __— _|9_—_. 35 rf— M r t bp--m—f— 40 ►j^lp-p-pp- szzf r 1 - f : l - " f f — 1-- ~"p' p^p-p—- f f k 5 S - p . t . . . . — 0^- f~Ti 1^- ■ f A \ •L#-* — — ----- • #=1 # # fi tj j i-l-^—I — pr—f i P" - " -J - yj J I II A t f = ^ : c r ^ 4- J i 4 J J' J • ^ - H q i — — U #4 ^ M — i \ ' -J--zz-W- ' L-p-J A = ^ L ffffr -»- #1 r r » ^2?v f ^ - - - - - r # # ► --p--r 4 iUL J — y. M L =k=4 -p----p— / T \ f , : = ^ ,.f --p---r o- ■ : / T N — pJ--=ZI1_ I ± = N = £ ■ i r ..-I- ' 1 "J‘ --.'Yfi 1T # = — o----— = * = R .^ —o--" rs -#— *r-— F- r ^ ' A i f r f ! J A , : = n M f ir-- * 1 1 ' ^... 1 — ^ i. 4 k -p— p i U f c If — t A A — ^ = # -o--" DIVISIONS UPON THE PAVAN ü l ù ' é l ' "Tl p f M ■ # ■ -2 “- - f. » -p 1».i~f f ; : n m J ~ H - .= 1 T O ^ V f ----9 •■. P' — - — — - Y^*jjr"|ï--- p.. [ f - ; ; I d 1 ^ - ^ O .... ...... - .... — -------- JJ, --Z__!— o --------------- p----- f* -771----------------- #----- \ 4 — Q -------------- ( jj^ 1 , 1 ' p ------- 1 — j— — J. _„. 1 ^ - . - 4 ...^ 1 ( g k l '$ ^ ^ 4 ..^ 4 " ^ . . . : t n . i _ ........ _ . ^ * — 9-- S. &B. 5541 85 65 XT - O - # L£r I t . J w C j t z f = z A ê i . f - T " r r r - € ► A" x k . - € ► S.&B.5541 8 6 ■ ----------------- 1 --------- 76 ^ ____ ---------------------------------------------( 9 — — " f — î ~ F — f — 1-73--------------------- 5 ---------- # --------- - # ------------ I > , 1 1 ^ J f / # J J J p ' = . ' ......... r " d p w j ^ ^ | . ^ f f f f . r H i - H F P f l r ......r - - j ---------------0 f f 0 f f ■ f r i . i - | y — ------------------------------------"" f I ....... c . r I r L T r . . i p . = . ■ = - j --------— ----------------------------------------------- , - ï , r - 1 r = _ j ----------------------— J — i t J 1 i : , . : . . _ . j _ J q ------------------ - - ^ . . - J # ^ = 4 = # # = W = 1 # 4 : = ■ = : . . . . : z J ------------------------------------------------ — o ------------------------------------------------- T ' f r - T - m ...T - " _ f 1 ................ t r r s ^ r 80 t o J],- u /TN w # w /T\ S i f T Z -«L-^ Â- ^ ^ J J1 -O---------- J J - J . ÇV' f — r -£X JP it 7~»>' - J ~ 1 j T -f^---: ---- tv--- i .• 9 5 ^ -------f mfg p = f e ) S - f l > — U J J " ' J r f r f f t r r p Z j , : J U U-X F Ü j rf r r f f ----- -r TJ r L rtff $ 1 U ^ — '--- sJai- jji --------- # --- : , r ,,1-Lid- < " > , - - ............. f Jp . le.::-^ ■ f ; : f ■ f = J - - ■ ji- j-i î i : | T - ^ J- ...... 4 ' - 1 1- - . 7 - J . , J 1 r ' l -f' - f . £ t ^ --------------0----- - - & ---- ”--------- -A— r ^ r - = r 1 1 .r & È & = f ' ^ ' r - S.& B. 5541 87 B à un iOO 110 115 -M9- t S z s. & B. 5541 88 /T N 120 k P - o - T *irfr , g / : \ w X E 2 2 / t \ & : o A. A - o - li ,\f f m f f F » L l L j - uU ^ @ : { K : P m " 0 " é " é é & T U A - i m A Ê XE / ^ 5 ISO A X E A f # A X E à w S ËZZ- # - 4 ^ ' i i k H P r m 135 C ii # 9 -----~7W 9J m i : \ ü£f-ff # m fLL - O - O - w 1 /C \ A M r -*" —< y 4 Ü i 2 2 i - à A- A / r \ f r r=f=f & - o - ê S.& B. 5541 89 m a cft 22Z 3 X m m i j - J t z M j - m J U.f T 150 P T B S.& B. 5541 90 12 SONATAS FOR VIOLIN, BASS VIOL AND ORGAN Sonata no. 1 in G minor ( a ) FANTASIA i : V IO LIN ' o " ^ P f f = r ? ORGAN r r f t T Î 0 i 15 # XT , i J' # é ff j r r - r t j : j m z w J c : w f = f w zo # p - ^ p - ^ l O m 25 # # r * r r ^ e DEC f e j IJ J J - ^ fff É e f = m p = f r S . f f ^ P Z P m s # m ' H * j i t = e m s i r mw $ f f m S.& B.5541 91 35 # - Z # # z nj- - i 'P ë p — p i P ^ - ; Ë r # I» " j: 1 g t i l - # Ë ^ ^ C ! g C ! r # P f i a - P j. l[J-j - J - i - f ww P f r r ||i,^ - M ^ i | i 1 K ^ r ^ t T M ^i|J |i pY ■ r- f| ----------- i i j ' \ k , p . . . *sl_ . . L J J 1 ■f""--P-#----- 1J rëT] 1 rp#—p — , t - ^ ' H i f—. 1' rf ' é ■ : -g-------- 1 trk W = ^ -p T knJ ----?— Z — J— L j J 2 J r \ CT" ...^ JP J f _ > J q # 4 5 ^ Z - P------ 3” ^ “ — p " r p - p z - p ~ ( ^ : J ;— t " - f ^ — P f L z - r i = t d # P ^ i # # # 4 mhp J U f - t ’ -P—m ------- ^ > . ^ J | ^tré w - - ■ ■ > - j . ' f -------------P ^---------mf- # T W = 4 : 4 1 '■ M = 4 = t i = = t i ^ £ j 3 - : p - ...f - j - - p = 4 = f < j i , l ,----- J • " ' [ f # : W - : -. = 1 — * . ..-J! ^ - = - f w - Z “ "* I f — * = # ~ ] — 9 - a - e -----------------^ J z a ^ J ' ^ b— 19--------------------------------- 4 = 6 4 ^ ' 0 - - = - , : P V 4 = ^p P » O 1 - w n . > «= , 4 = # 9 ------- L = p ^ = M ■ ( g » J lL - 4- -p ------------ p z ■ ■ - p ' -#• - Z ------ 7 4 3 - E - ^ = - . = = ...........w € = 3 - ^ # = y t ' ---------—O ------------------- Z .......... ■ ■ ^ -i-1 ii ^ J- J j a r i f f S.& B. 5541 92 6S " 70 -o- A -o- E g I " I - , ■ « L J # # w w # # f F p=f f r r rr ^ t4t g f f ' r fs= r f fT H t e r i y < y p w fgi|l» *- O' - # - f ------ y- J ' L . ] m J — '— w p ^ ... ~ ¥ ~ ' — f t — v / t > -- - - - - - - t e = 4 t e -©----- “ -------- t e = i XT II f r J 1 r ^ 4 j 1 -A — f 4 = = t e \j n \ f - :A- " 7 3 r t e Ip te 1 (g,i> 1 t e t e r = t e f - ^ J f r r r À4^ * * - » l - # ' # r r - f h m , -------- t= r=| 1 1 ^ i > J - =-- J - ^ t e = ^ '..... / --------------0— t e - 4 r ^ t i t e i f f f f i g <# = 3 ■ J ^ 3 4 m gE #-#• g # # w 5 t f r r r -o- # ' —2# i 96 % # — -—^ — - J . n\ 3' J J J-q^ ------ = — t e 4 _ g ^ _ ? ---a J --- ( C ) î it ^ 5 — -----— - K - : --------J-- -f r '— ^ _i J j . }] f f t e t e t e t e = “j — [ — T ' f ~ j ^ 1 r __ 3- -- a W -----4 ^ ■ L ^J J-j^...-_i J # - » '■<__ ■ J — J— ----U - 1 0 0 i05 # #' # " 1 | . ' ^ z p - . ÿ j tll » Ijp f l g f " - » m XT' XT' t e f f i f = # P TW < ^ ' .......... I J t e - S.& B.5541 93 H O TT TT -O- TT (b) ALMAN VIOI IN Â ^ - F ^ = F F _J— --- M-#----- ■ > - 4 ' = * = y ^ ? ^ — --------- =— 0— # # f " -----~ -m -0----- VIOLIN _& P c p — BASS (e):|{?A— ^ < 1 L g L _ _., y_. J r **!« 4 = f ' — T r M r 1 1 J N = 4 — h :=i=--------- 1 — F = ^ VTOL ^— -tp ---------J -0 ----% ------- d J -'jn + J J— > ------^ = # = w .. . _J ORGAN < W t y - # t N F : — ---------J = è ^ L U I - Ï " - • U f - a f 0 S - - •-■ • ■ ■ r r r r » f g o T r n — p r ' J ----------- 1 ^ } ' i . . ^,;z==!=4 r m J r = | rr> :. l ? - - Ü P ------- ,-# 0 0 F = H j-.... j.. O f /:\ . - tp------- f — m # J - e ^ ---- - r f - ' « J' , , , ' zeLÿJaL T V ~ ‘ '< / _ _ J j J 1 M #J 1 "T^----: J ] J , J F L J —J_ # = # ---- lf=i= - , 1 W t e l f = f J ? ------- ■ p j = # f 1 ^ h S = z j / T V — O----r -«p r Ü -T H ^ ^ * = 7 ^ - ^ = = -— *—^ ----^ _p .. . \ = à ^ r ? — C f ■ ■ . . . / 5 C \ m j J *r - c r f ^ Z Z ( g ^ r E - p ^ ^ # E p - > . r Y # r r - t |} J IjJ m # V t | j C \ /? \ t e — IT" C \ TT : - o - S.& B.5541 94 ( c ) GALLIARD V IO LIN 6 m -#— 0 -\ i t e g # ORGAN a i / < 5 > 0 - r r \ 15 £0 & = k — p w i g . I k 1 7 \ g W # # /?\ « # a t e = b # I n # ^ 5 CLOSE i r ô ---------------- # Ê W m ÿ é $ g : t e o- # g w w é É S 5 /?\ -o- m /?\ w « * N «' r e |^'’T t S r -O - T T T T » — f T T T T “ C\ 3X1 -TT- S.& B.5541 95 13 Sonata no. 7 in D minor (a ) FANTASIA iO 1 9 - v i o l i n i a r - f xi»~ : i ORGAN @ 1 , ^ . ~ 1 P P s -o - -o - f=T rr jfi L ---------- .... r . ' . . . . . f . 7 ■ - - f -J t- O -------- l O f ■ -f^i— Ô ------- # - 9 ----0-"^ - —1 — - a f # = " O - .... - o — 1 — L jj------ q W —, - 1 -------- W - n r 1 É W # - . t ( 9----------r f § m g 2Z ? L - i - J ' ' —J3 - é rr rr X fe. X fe. ^<7 * Î - f X£ S. & B. 5541 96 Ê a f m i O f s (^1, r s f - f # # i m ifJ- # -o - # 3 x : é i J . Æ i m p f x r — r ^ ^ 1 * — Ÿ— r--r-rri Ï 5 f = ^ r = q Cf’ ^ M (8:. ut d ---- F — f— * — f rr-FY -# — --------- -y -- 1 b n * r L iL — J j J. - - 1 ( ~ ^ — : ------#F-1*' ---* ' j tf 'j'~" - 5 T i #-*- - r t r n FH=f=r \!P j-' " # / Ù^L H.— 3-^ - . . r— f— *-- f--|- J J II . . _ J f . i } r . . p.r_ r- r ------r i t e = L-j- J: J ■ -1 y -----------r -a^3t-- « 7 v -K-- VV1>J.*.-*. e - --3 . L J ^ — _ ll • N r r ' f ^ lo... . . . : : f = r ^ ■M*— l i ^ " - 1 ---------1 ----- !? 5 ^ ---- F = = # = q [ f . 1 # ■ --------„--------- _ , . ,/ i r ^ H f-fif 1 » 1 w < 5 »---- 1-# # ' J ~ U é l'^'r cr W s M * ''' f f T F # F ^ N = y b f r r p i p f f l 6 j. f *------- ' 6 p f - - - y r r r r —: ■ f ---'-- U- = Y -= # -r---------- — ^------------------ [ p f ' c -4--------------- ^ - p --------- J-----r^f- - ^ b - = -------------- 1=^..=-=.-- :.M: -ü — ----- t ^ = i = S U pJ '• ■ I 5 i i # ; # i _ A \ y ~ 7 7 m f ju i PPâ f 7 < 7 t e i # f - r - f # & m i # - A i A â f e # r r Y -#— #- s,& B . 5541 P A % t e l | ^ - |9 -.. l i b 1 * r r Y = * M > p f r P f # r = 3 1 - , - i r n ! W - k ------f F p L . ------- 1 f T f P m > » f y ri------ p r ^ ' ' @ k f ) - j f - •~ f'" ' L J 1 --------L — ^ --------U —a --------- --- " r r C f q p - - | S M -----------------------i - t f ^ i B = «*.... A ..... _ J # N w J i p i J p j p j I J p j p J p J , J p J 3 x ; r f t f # . cr w = : # [r# É # .. 0, 90 ’ Û # # A m f - — y m m m m m # w i É t i s ,4^ p J i # p f ? f j i # - - h P % # # # 55 _ _ _ _ r iT J - J T r i'l m f p Ê m m i O 'f ' f - V ± 3 t # J . r :C î J ip J J t T ? à S.& B . 5541 98 (b ) ALMAN VIOLIN Æ i> Ip W # 4 # f l i i J r . r ORGAN S pi ; - J iiJp-i • i f a - r r f = T s u É /5 f_ /r \ - o - rtrrr/ir rrr^ r /T\ é C \ # A g: r s à i J— i r r r f,-- ' 5 1 * —r ::Tf-p-FT —“ - = —0 —â » -- |i [ , f p | * ' r k f a = - J’ - J - 4=f=: ■ p -- g- - T- 1 ----- -L1_U - * - - - - 0 -Æ - < 9 -- ^ . . . . _ . . ^ "^rZ" _ _ _ _ # —P‘P 1 - Z -. . r p.pJ rrir t ( « . ► • b - A 4 h —i p j ^J=r=: -J • J * ■ r i - 1J j J j 1 T r r ic/ d ' 0 f a = r . : : - p - ^ “ f a . . Y- r ' r. 1 T-'-r— # r pj» l », p f . i Pi? ^ # C s 1 G=k T . . J 4 é iCs P = ê é m m m â s C \ s.& B.5541• 99 ( c ) GALLIARD 1 0 VIOLIN m BASS VIOL ORGAN d - \ > f H 1 5 1— — T1 - . f f < u , tT ----------f — r f — f f i --------- - • ■ ' -T J —= - = . - f f r - - ' ■—#■ • a - f- à ----------- ^ j _ a = g ^ L . f i b i , - f - n _/T\ r - # —f2— -#---- r- L 4 - 4 ^ ■ /7" ■ ■ - j : = Ÿ ' r r i ......m ' ■ -' — J — 77: f L = i W w f T T T # — T — , , J < - 4 . • 1 . J ....... A j w 4 : T = i ^ T ------------ L - — J — i - - U -----W— i f 4 ^ ■ T f T k = W T = f = r ' r L j_ ------------ : - . ' .1 - 2 5 ê A 3 0 CLOSE 35 g C \ # # # £ 2____ f # L i L U # T ^ 1 , ---- iO to-_ -1 ^9-r#9— L t m [ --f p T g C\ —o-- f " # . . . . . — p P " ' 1 % ^ ■ > .. ^.8f.. r- # = n T . ^ . A L r .■ - . _ r # . _ . ■ r ■ -*-y _ - - L ^ 0 " B ■ ' . . . . , . C\ —0-- m w=w Ü . C \ i # fTf i.. J J -Gfc i . i c \ rr S.& B.5541 100 1 4 Sonata nd 8 in D major ( a ) FANTASIA VIOLIN BASS VIOL m ORGAN * - p : -----d M JO 15 m i 111 m # i = W # i m m m m m# ? â # m --r- # — — ly • m — = rr~r f " 4 — T" T ' T f f=sd — —^ — — «UL- — ----^ "] ^ f P--4 - - r - i- ! ... -1----: »-i-- -pp. p W f h---- -p— *- = # = 'fi^ - 1 '^ - - r 1 L r L T 3 ? ] ---- e--- - W - — .-pL- ■p^ ----------J— ' "" '-« Ü I— - ■ k-1. ■ -\ — ^ ^ J — cy_ T------------- S.& B.5541 101 F # # = = ^ .p . -- # - #_ . . ----P ------- - P' ###_* ri f > • - = ^ = w rr~^— ^ _ g --------------------- L;j) _ ■ .... z g E = È = _ p f:p p .^ ..L _ ._ y = f --m - L - U P — * - P _ 4 f — * — —h - . \_ Z fp :------ --------J— -1 * rfprp— m - -4~i - " 4 - ? - = = ^ r - - - r : ---- - -------P » . 1 ---- - & —-------r------H T - — *L-j H- - - -Jl (rMr T" »pf—$- - - L . . -^. H — - 9 - ----------p — . ..... i f . .. . g n =F= — F J-.-----L- ^ J ■ < -d « ------" L _ i^ r^ L -l^ r :lr:zrzp:rd - ■ — * — « f — a — p -fcMn-- K—p. _Lpi ;cL_Y 3 KZ* . , » . . . _ -#—— - j 0-- f L -----------p 'f ft p u t -P-» -#— p 8 = 4 = - p----- # p #-# --i ë — F~r 1 — L. -#— / --J- L - f L :— _— -J-. — - J —i - 4 —#-- - 4 - ^ . _ i 4 - # p . . . . . , ^ ■ l ^ ^ = = ^ = = ¥ p - m P - g —#pPi --- -1 » pp~ ^ ~ p r ~ rfPr frP- uff -Vf S E^rrff r - J 1 -- h- V 1 1 . T__ > - Jfa- P ^5 L . . . p - f - f = f ■ p -P-• — - f ^ - . : . * ~ T i m ___ —P —fP " # -£i--=^ U % p ^ - j —«W— __ •p b - i - - » * ■ J---- P — J . J - J . r fp . . _ J - é - * - 4^B.rl - & --- ! ■ - g U --- m Ü ,t. . f rr M » mt'zT m i - W g i m i = i e " T = g m F 3 Q'' S.& B.5541 1 0 3 55 m ■ » fffi:----- ■fFff’ ♦ — p-p- # CTCff ------f ^ ' .... 4f t '44 pp-f r- p: 0 P »-----p— J— -#-----p— --------- -m---- —#-----------p qp — #-----d----fîF----- -P- ii3^ W j b J T - L r f ■ 4— J J -p— #---- zz---Jt, . Mr ... —p------------—t— 4 — 4— p 4 — J - 0 3 ^ h =] r---------— 1- , r f r 1 # # „ r r £ £ T ^ ^ -gfypsl . , . . . , ■ . , : f f f . . g f l - t f f j f ^ f L r ^— « T ' ■ ) r f f F = : = = ^ d = ± = — > , r r , t L M n J ' , - f T r I T ] . r r r r c r = r = 1 ----------7' , P--- =------- 4 ----7 k U _ - ... I L%:.7T L j T ^ |(gn^i ^ r r T -p— ■— --e--- p T l / -(L------—T * - ^ -----0-“ L* f'-----^ -----f- " ■ p . . - . -~0— ^ --------- I'f: T = f 1 - -t----=--------- li.. Z - O l -j— , f . - ~ l > — ..... -)---« -K — » ------ |- Z _ _ 7 0 ^ l.rrrrfT - = T7f»r 1^1 f ^ r u* U#|, . , r , _ = ----1.-P- - ^---- Ff=i=Z------ f L . — -------g ------- # " ' U i = -I_P-- ^ r J J J 1 g e E fe ^ B — ?— fr---- rP-=----- f- P" .^ P ' P 70 75 u 80 # i i n m 4 L i - A 0 l l i I 44=^ tii m S.& B.5541 s 85 m 1 0 3 90 \ m s ê m i a m P -# T r r m # w w f ? r 95 i r \T j - T 100 m # i r f A Ê i # ( i W ê é # # w w # f f r /05 $ m $ # $trr ^rcr4 r f T rfC ff |f r f È S r f 0 m I i- v ÿ " ~ r | J J i m i r f # i ^ f rff # ' r - - tC /* K g — " Z Z Z - ■ m - # P "f e - JL #-P:E - m f -----------f - - - - - -P- S f # . - - - - - -: -- - - - - - - -:- - - - - - - -J L ^ # i M ; - = r F - , i ■ f 'T f ' T J J _ 1 _l J f -1 r f . - 4 i 1 ( ? " r 1 ' r ( r t : | t , | J è-J - J --------1 —! - - - - - -- - - - - - - ^ - J I ' J - j - J ' t --- T - r r t - 1 ■ ^ - f - t T f r r - " ' T - - ' ^9 - ■ ' P ~ f r 4 - f g, ------------* Z 1 - - - - - - ----------------------------J —P- - - - - - - - - - f r f ( ÿ g ^ " n P r - p j - j n r i rfrfrf cJ — p f i ~ „ 1 . t - rk - - | i— i- é ; : ^ . n J J i-rf-J-rri " t ÿ f c — ► f— - T " i ----- ? f------- c rf- r r " : : - ' : ^ - : rf r F rff ^r rf F— - r = ' ' ' j ---r f j - ---- J - f - 1 ^ , . _ . , ^ E#rf S.& B . 5541 104 n i a J J TT l l " 3 - - t e C T ^ | tSff^j.* f f g # f t -rrj^rfp « r r — ■ g % W % q - P - * i p - « « - P - P - f - P - i P - « r f — r f r f r f p p r f r f ~ T r f r frf • P r f m . P 1 # P - - - - - - \t % J J r ir r f r 4 = = f I — r ~T " J 1 r f ! ! — ^ - A g & — ^ ------ - - - - - - - - - -' - - - - - - 1 - - - - - - 1 - ■ ^ _ _ _ _ _ _ _ _ _ _ _ : ^7 r f ) ' r f ' - . . M y u l[ — . . . . ^ 1 yJ 1 r ^ r r f r . i l ï T P T f .T ..... r........... T m i * 1— T * I ~ ff r . . . . . . . . . d-C— c -f r 0 n f r f m 4 r f — E ^ [ _ _ y — J j j j - . - g a / ■ f f : - p f p f f p f - . . _ f - - - - - - - - - - - - - # - - - - - - - - - - J - - - - - - - - - - p s p R — r f # f.?5 ----------- ~Y ' V ................. r f " .............- ........- (Ai, f t f - 5 : , p * r - T 0 f 1 ■ . - . - — f'fi' p P f f r i p p - # - p - M y — . ^ ; Ü ------------------------ a ê 4 — * p j * p j . J ' 1 4 — - H ---------------• -------------------- -— p - p ... . r f = ^ « r f : r f i .......... - r f ------------ - r - - P — p ^ #----------------m ------P ----- - J -------------- - i — = r f r f r ' - # ------------------------------J J ■ ------------ é ----------- iiO ------- p - p - r f - p p p 1 r f 4 = F p ' r - r f = — i r J p r f / ^ 5 r — r 1 f t .... 1 — e -------------- r f ^ f f f c l t j ' — - U r f = - r f - 1 r ^ - r f # —p -...... ........... / . r f 4 = - o - -efc----------------------- r f r f £X = § # = — — r # % = r — F~f~ r - —fZ -------^ N = t r f h — r f l " = 4 ..........-1 i j I f ■ ■ r f r f - J J TT 8 r f ^ ^ r t:8 ,r • g * P -p-=— f - r f - # r f -p -------------f r F ' - ^ ' t— J — r c f T ' " r 4 — j ' - — • r f / T \ [ . . . . § z — I --------- L f ----------- p - r f = T ' f .......... ' ' S .& B .554 I = f = 1 r f r f 105 ( b ) ALMAN e # I # g 1 0 m VIOLIN BASS VIOL — - g . f ê ORGAN i M W m -o - g w iLJ ■JJi a L l W : É i i Â_ _ i y i w p ? /5 i fr I fff I r i r *w 20 % f i g « É # r = n WT J a SüEsS t e ç j - J l j i "XT' rO\ ï t ê * f # g # g O X» -a— J J Û 0 f : # T T T l i % ...:-■ f r 1 r-r 1 -| -p— P . -P-Tg----------- f ■ p... # _ o ------ j s j^ p p # 1 n A Jt — --------------- . . d-... - p -j» 1 # - « - ........'TXT -© -------------- — r— . v v rg . . . 4= — o ------------- r # g p m m 0 X2. S m t e W=W ï w f 4(? Æ 5 Ê = Ê t m É i C\ # ? 33: J L * Q |J " J J J j J J 3|J- « D Ê S Ê c\ X> f = ^ m Ê E Ê e /T\ rTTT I " cr' r - f S.& B . 5541 106 ( c ) GALLIARD ^ r o m « VIOLIN BASS YIÔL ORGAN m Ê S f m m W A p 10 15 F # W = T " » —f - # -1J h . - i —f —r i m —r . -— - -r 2 0 (a l - — TT p - f i » - p — y e- =^=P=j =^: L#=i =h t # r - - 1P=P5 y— « L l p r / . - -p —p — 1 J K l - ( m f ^ j -## p Lu=J J - ü — J J î = - J —^ — p — q - ^ - 1 — 1 — ■ I — W" r r r— ^ r— 25 30 f î 35 S CLOSE ^ 4 5 # Ê ? ¥ A i f e i g i # $ A ê m @ i f I f a z i z É S.& B.5541 # i J]J ^:j=iy T r F^r r n \ a C \ 15 SONATAS FOR TWO VIOLINS, BASS VIOL AND ORGAN Sonata no. 1 in G minor ( a ) FANTASIA 107 p h h r ï i i 6 —1 -------------3 » --------------- ^ - i i . l ' , 1 . ' 9 0 J - ^ J J ~ o # i t ^ l ^ J * C T (fa— P = ^ : : : f ( 4 r i I r A ------------------------------- — V T f - y ff - [>- , ' J J J-J , p - & ----------------------------- 4 ^ 1 r . ■ n -J y. J U ---------------------- « — - * — # — * — p - — F f ^ r - ^ r 4--- ^ # J o î b = = y - r 1 VIOLIN I VIOLIN II BASS VIOL ORGAN f-JW*—1 » *,« 1»-1 » , r - r _Q| ~F —f ~ F - W ---fW 15 p - i b i ' - P #3 ^ C h - - ■ f, % rr. ET — — -& ------------ -----J---------- » m -J . . m . . \ — -------------------- - U ---9 —------ g r # f ' f f (4^1 , J J, f r f J___I I f f r y f - o - £ 5 20 w rrff S.& B . 5541 108 S â & P S , 1 ’ J J À w - M m É f f ff p p p r r = T f E J=JÀ r r o - -T f j) u i' #r • , .CCTi r rmrrttr 1 r f r-h-gj 19' ' y -f a k ^ r * M itf P-- y r m'"0^...... —J— J— > f- _ § ^ 1 M A * K , k — — © ----- -- r uw ... ------- i— 1 J I f f J J j J - j - J j j ~ - r r r i ■ J J'E K '- ,. " : -J----ttJ-- r r 1 -j— J J - © - = -----J— /-y 1 --J--W - r P “ ho ^ 1 « r r r • 1 r * ---- P t ^ ----- ' — 1 — _ W - ^ --— ------ I f r ~ i r r r 1 ^ ---- A— 45 # rTffU 55 a A p m É i 0 Q # f & # f É f # # % r» Z 7 i f r ^ f É P # XT- 55 XT 3 ■ & ■ S.& B .5541 109 65 m é i m Ë ; i» é i g r g TT w . . 7^ <5^ 75 # ^ F ^ f - - r £ g % g f # W z : # p^ülr # ( tj) ^ y # » - -! rr'l rlJ ], I 1 'i U S 5 # — p — bui> > ^-.^-T\-\ 4f^tW - ^ -J" - : i f \ # » — W J J 1 L J J 1 W = ^ * # J J ^ - - f r O ' ■ - ... - ■ ■ ■ f * . ■ ■ . -j r ,- ^ m . ^ ^ J J ïê ÿ ^ h --------------J — 1 J ' 1 1 1 1 I é4 J = J g. J 1 4 = ^ f — i 1 — iJW — # J J ^ 1 — - f f Z 7 ' ~ p — » * r r— \ f n o | r f 1 h — — J— J <c_:::j ^=ç=L x r S.& B. 5541 -y i t o 100 105 1 1 0 ; m "cr 1 4 ^ f=^|j. j]| ~ t-- p O-CAi r r - ^ -e —e ) ----- f -- P — If 115 120 -o- TT 'O- (b) ALMAN - r n 1- 4-11 6 1^' > n ■ h A T r - ----^ J J- 1 = ^ J]j _ ■ #4 -------rJ— -r—p--- 0— ( ( • ) . 1 [ » /U " p J - - 4 h.#r F j j j j i — k * |U m - ' ' > ,h/#r — r ^ -P — T 1 --- T T i V f - Nr-i ^ r T T U — 4-0* J j J . •• O ... V__X VIOLIN I VIOLIN II BASS VIOL ORGAN S.& B.5541 lj? I , l > 1 * 1 » f = ^ f t t — 1 r / r f J^1 crf^ji#rrr h >h 15 ~f----------tW 1 1 1 ■ p - ^ ------h s— p ■ " '- f 4 0 i } > f-----^ f - - ] 9 ---: ----: --- “ Ï — mWf---m t g^fi. ^ • j t^^rp\ U ^', - f- ^j- -„4 ^ T p ^ 1 1 r 1 - f " P -----P ---- F - ^ C f r - ■ ' ^ . u - ^ - f • ' i ' ' ' X T i )j J m rrrf /? \ i ^ i - o - m C \ 0 TT c \ f ? r f w r \ F = m a mi i -€lf=- JO # -r* J5 # # # # a y g # j - j I ^ J - J ^ l [ j r-Tr': É n« i •* 4 - & - "cr XF s . a B.5541 u s (c) GALLIARD à I S -I . 10 VIOLIN I VIOLIN II $ m BASS (#):, [ » VIOL Ï 4 : IP f ORGAN g È w E 4 E 3 W i i # ; f f r T T r É r r # "?T ^ 5 /T\ # JO J . [T . c , I*— » # r \ 4 # # r r\ r ~ r 4 4 # T w 1 é f r f r i m P f r r S.& B.5541 11^ r j P i l ? - V 1 : 'i r^ rriT n [ ¥ = L ^ - J ip " ■ , — # - r r ' W - j p L l > - |- f ■ ■ - -N =^=] --« - f . — T '- i ' n— H 4' .- J -4--- 1 - J . ^ + = + i h f a ^ — ^ — P' - 1 # ( ^ ) p " t t p f = f r b=iM r V #=M — # ---- #p= =^= W - w i 5 m # f f J J J F T CLOSE i n --------- m C \ m 55 $ -O- C \ m m C \ é C \ f = f : J___i i - ■ C \ V» 60 C \ o -o- S.& B.5541 114 i 6 Sonata no. 6 in D major ( a ) FANTASIA VIOLIN I VIOLIN II ; BASS VIOL ORGAN 1 0 20 15 m m S .& B. 5541 m ? m a. 115 f i p f s i i i # # i « I I ] J J J I J J l | J ^ J f = ^ J = ^ rifT T J J < - ■ O " r~r S r~ j # W # f m # M 35 i # # m w P - # # # ; m r = f = T ' T r r' f g S m ± ft f S.& B . 5541 116 4 6 -------m — F — f — r f / f r 7 r d - r r i I f - J , i » p r | * p r r i f r r r r r r r - 1 § " : = Ih 1 J J i i f ^ j - ^ b = ! s É £ £ o . — c — p C L u 1 r , ü 1 iiiLJ [ _ ----- --- " J ^ T # L ) : ë , j --------------: — -J T f J . - J --------------— 1 # — -#—-J ---------- f ..........r r f — # — -iTc-ff# g > I \jlH i J i | ‘^ - j r ± d g 1 ----- l l J û 1 - 1 g - J L - - j = r — J -J 1 I " J - :( " = F ) M : l \ o ' — ■ ■ ■ r r r ^ * * - ■ r .....f r -r - f r r F ~ r — r-r p I# •rr r— ■ 'f Iff L f T T I i.1 . --------------------- A u X J m _^i------------- gl- 5 5 J - - I ^ 0 ^ ^ i # ,| - ^ ipp I » - j TTFi 1 ■ f ~ n-- o --- -^J i - b " j i H ^— p— p— » p'pp ¥~l*—F— — # " ^ *K#„—------ 4 -j= ---- — i _— .y — f - ~ _ j a - # . J J / —t — rn- W;-----J ---- J .- J y -J—^— J ■ rTJ d— L % , j '- j d r r f- rj J J q ■ T J -...» ^ ..N — =— p— p=r=r -p i — a— LJ_-----J— f-- r i I f ri Ê 6 6 f W W I# « - a . # m ê m a t # # tiri -J J J ; f- @ # # Ê Ê N ^ i. W r r ^ r r r | | f r L f t t ) | 1 r r T r j [ f . , . Z „ „ J Z Z J j r r W J- . . . : ■ . . J 1 p = . . . - j " i “ 1— f — f — p — ^ w » . . . . . . . . . . . ' ; ■ ■ : | . . . . î - t T r r J-----— J— -- L ^ , , , r - J — - - - - - - - - - - - - - - - - - J r f r f p f r r Æ - - - - - - - - - - - - - -! - - - - - - - - » • ■ ■ » - r r ^ f p - f f r C f f r r f r f ' . # £ C j * ^ ^ ■ f i r r ^ i f 1 * ^ * ' r f f i d â ü ^ J J ' p . u • ^ , J J : = - â l 1 =^È— pj— L J — | i - J T J 1 t U - 1— j J 1 \ H ~ ^ — ' « - ' [ f ........... - " P - | j r f ~ T r r T r - \ . r r r r f "' f ^ # . . . . . . . . . . - r r h ~ r r " ^ N - - P [L- ' ■ '1^ J . ___ ’ ' ' # 4 : z - - - - - - - - - - - - L J — - - - - - - - - - - - - - - - - - - - - - - - - - - - S.& B. 5541 117 75 85 80 TT TT 95 -€ ► 100 106 -0^ TT 0 - 0 TT S. & B. 5541 118 (b) ALMAN VIOLIN I m VIOLIN II BASS VIOL ORGAN J j 3 s f ' a 1 0 m m 1 5 ; È m r - ^ r > • f f— t t a g # & C \ /T\ ,-J ..... m ¥ |i é $ i # f r = r T ¥ J J -i =# T— r— # r r s ¥ S.& B. 5541 119 m A P m f p i i i 55 m m g g jL g g P C È T ^ C \ i # i w #,,i j - J fr? rfr g - r - T r T T T C \ > * r - r^ f r r r r (c) GALLIARD m - - ' = 1 r M p « = F = F = F = ^ 0 ' ------- - 0 - 0 — 0 — 1 \ 0 ' - 0 - j f ------ - f - - J 4 ^ A A # , | A ; i r + = M = ( 3 . _ p p # 4 - ^ 0 ' - ® --------------p ------ L j : . ^ j m 3 i J ; ^ 4 ; ; j = - J J 3 - — - J - ■ J - J 5 1 t = y J M # = r r 7 3 .........? .. : ± — " ! T : m * r T * r ¥ = # 4 = - & --------------------- ^ - ......... ' 0 - H h n ( 9 ^ r = n r c r " P — p — ^ f _ J — J j i L f Ll ^J VIOLIN I VIOLIN II BASS VIOL ORGAN s. & B. 5541 120 / i ; # i , r r ^ [ J - , y f R 1 5 - p — I#— r P — T C \ — ------ r f i ] p - j ' j 1 ’ 4 0 = r r r r h - # - ! ! --------------- f - m r r r r - X Q - j >■ - J . - J 1 H = r J /T \ .............r r W ^ J * -4 • • 4 h - - i M i i l i f -I--------- - ( - ^ H H * # p = M = j ^ - ♦ — ------- /T \ ------ --—# ---- l^iE^^r-nzi — J t t u J ------1 ------p p - , - r - r f -J- ' . " r d — — •J- • J . 4 = d l j J j 1 4 = ^ : :: a :., z r M - n ^ — r U ==à 4 — ifj- g ” r J Jj' r 1 — 1 — — J. « ** r ------- f r f f - I - - 1 r r - # — 9------ = r = r s - T f 4 - f • ■ ll^l: J - j = — P— ' J J . y . . M = ^ M = ! 4 = ^ h r - m i 4 = ^ " ' * # —— § ( •.- \\m J J inj r 4 ^ ^ - 4 M -- « - S -- . , p _ . ..p . -i— » -k -- -0— ----- p " ^ ^ ^ (fk # |, , p - - g — - p - --- p - r = # F - e -------- \ l H 1 J P ^ .1- -J-H x J ----J- J... J -. 4 ----- b = = J li- -JJyii .i j 1 4 = 4 = 4 = 4 = 4 ------- 1 r T 1 1 J - - j ; 1 r ~ - r ~ r T " J. - - r = a - - p ----p — r -r- r-" — f = 1 ^ t jr r - _ d ----J— Ï ...j y = ^ Ir r 1 3 5 4tO CLOSE C \ 45 g A i I t s ^ m r \ - a — m f f 0 » 0 é c \ ? p ^ . “z r C \ * # g C \ # rr J7F r # % c \ s f S.& B.5541 131 17 Sonata no. 7 in D minor (a) FANTASIA 1 0 VIOLIN I VIOLIN II BASS VIOL X T r f f f - & ■ TT ORGAN -o- TT 1 5 ^ --g- — 9- --g --- P— —^ 20 ë A & IS « j J i'~l~ j Itt'-I tt'J Î r = ^ I f r — r i J J J r r w f r r É É 5 t i f = f f = f r r " r f r r 1 ^ ^ l i - p . -- P —P- "^~Flrë ^ •■J - j j L -"rfT J- f- -j]tp É»==‘7:,:r:^j3 — -- p p 1 » r - m — P = i ^ r * J • ■ —---- - '# — - # # - #' m --- f . » ■ r = p f # = ë = ^ [r#r ^ XT ( fi I J - — 1^ J J J 3 | / * = = + = ^ ,- [ ] • ■ J-" ■ | |# F = t e = d f t - p d i - _ - r r f ^ i # - f - f - . J ...... i - -. ^ r p ----m J S.&B, 5541 133 - « - = -------- — - U 1 j ,. Jl nJ nj f=^—= = ^ y i jP y ^~n~d---1 — « . . . . _ .. _ g j — e --— -- --------- # .^ - - r r • • • rp , f /r^ |— - # ^ ; - - j l J ------^ — # -- ~ T — r r> p .£ L - # F '^ — r~f~f— ^1, - - — ^ • f'7 ^ " H tF — T — ^1 r- J. =t= ---------- # — |l t > “ [j-. . HiJ nJ ni ^ (^ L ^ i Att~^ □ É . . . . . . g = 1 = n c v — o -------------------- — e — ■ ^ è = f ----- « -------- - p - r r - r f r . O l r =------ a - ^ _ . . m. - [ | < g ^ f p - f - T - f ----- a # 40 42J_ * w H = j3 E P = 5 « à m ---- ■ " f " " C r ff r=rf f T T T # - o “ -fiU jT ^ # r = i f = f i f ^ T 56» 55 %E -i i i -o- -o- 6 6 60 3Œ XT ■or. S.& B.5541 133 (ll^ =--=1i=pf=f^-0— 7 0 --3 ------- h — ---- : ■ ■ k-4# f- -f-T 1 1 » -j* -- #p-g---- -|- \\fi^ - > r 2“ . 1 r * # — 1~ ^ ^ - - : J- — i—-^pf► f-' -4--- Lf 1 — ~ 'v # ---- ■ ■ J p ' -f*r------- -— -^-J- ^ m # - r 1 l^r ■ i -]— j » d - - - - - - - - - - - - - - - - - - - - - - - - - # # & = 3 :^ — -rT ^ 1 1 f4 £ L d 4 g - , * • r = f j P ------------ P \> Ü J p ■ j l 'P -o— - ziM - ■4— -— ! -------1- - tit3 — c— L J- FP=# 1 id ■ : s L J— f^-4 P-i J r - j U = r ^ j d -o-------- f = f = # = ^ --O ------------ C T . - ■ ■ ■ H - - - - - - - - - - - - - - - - - - - - » = F ^ ' ^Tn tj^- 1 3 . < 3 ---- — »^- 7 • - . m ^ # & 4 = | 75 m 80 i m f i m # M 0 # & S s f A # É i # f E 3 F J -O - 0 85 90 # —m - P m # f e F W m N=r i W # & ^ A | W J.— _ n f=f^ f T r f r ~ T ■ J . ^ ‘1 * j p ~ - P ê i # f i> - f - J ; # 95 # i # __# r& S — # # — F m w Ê à $ M & a A F m- F ; 3 i é ë i K r r r 3 3 1 # ê f ^ f rf= i # S.& B . 554 134 m o /0 5 # ■0^-0-0- f t f j 0 # # o l j J 3 jd i r - - — cr FT T T r f ■ 0- 0- rrr # W m w r ' rf # yyo XV # I # # - # ■ # /T\ W j U j - o - i # # /?s -o- d J j . # f ) " g » P T T r r r rr r ■or < g |. f p J t t|J Ü ■ ■ J p xv_ i- w f r\ W # * ' J ^ - i ’ -o- 3 n (b) ALMAN t e # A VIOLIN I m i VIOLIN i i t o T i J - J J J 3 J jpj. ; r = f f r r r f ORGAN J k * °' # ' é S.& B.5541 135 l o g m i # P P T # # /T\ g # W # TS .^ .- 4 ^ ' J i J r f ê # tr f W É 15 r f ^ ^ r J , f j r T ' ■ ■ ■ z..j -4)'^ L. 1—Ll L — ^ ^ m M U = r ^ : - : “ P U - - -' ---ü----Ë---- J Ÿ # 3 ^ ^ ...... —---------------f — p > J J j 1 ( - > h ' ’ f f ~ r f . m r'J I f l = , ^ J 1 — — *-j-------- | j . f . . . : J 1 f J --------- X : ------ - K . N tfi 1 . . - 1 y P r L X ^ - ■ M = f = ^ = = r - r i ^ - ' - 4 - J x . . . J T — - f - { - —---------------f — T. r F- c - 0 ------«— --------- ¥ Ê 2 5 m m /7N Ê i Ê # - o - M W c\ r 3 3 1 XL M # # T ? # C\ r m /?\ -o- é L & 3 3 1 (c) GALLIARD /O VIOLIN # S é p rtt-g'. P a VIOLIN II BASS VIOL rf f m 2 2 ^ y s « 1 «J — 4 P -J f»n F f f # 4 P d p f T r r i^'i>i f f f 1 T = t = J---0— T r i 3JJ, f f r 4 5. W ---- p r f r ~ T = J' ORGAN S.& B.5541 136 m 0 '- p 15 f if f TN # # # Ê p —p # # m P é ff r m É p-^ f r \ P — P # P P # E W # JO # # m # p # a # # A w à = p J = À = ^ i # - p A = f 1 ' ! P A J 5 ' " T^=cr * m & 40 s p - r P S /T\ p p - ^ Æ Œ c \ g H m Y— " Y " ' A - P A ^ I - A g g p r-1 m i » • li > T : : ^p- p ---------- PA P M PPA n — P ~ 1 N = - f - 1 /T N T fe - pp M . z t — : —L i- 4 = W I - — — PA ! = £ : — Ai f = r = A fp r P PP t r - - 0 — — r- ■ j i - Z T a r Ë T ri f * r ---- P % ï t . C L O S E « f l A t P P = = f • - » — 5 1 . .. I h z ~w ^ u i w 4 Î f - ^ - f A T f r ' C \ — & -------- p a = = P ■" 0 " ^ - — p ' ■ f f l *— & r - - Î 3 f P 4 = 4 A L b t . , \ - ' - j A I . 0J 0 " Ir. . m - - ' * r ( g - t P # - # ----------------------- f P m - r t ] i = r = r W i l U j - L W - r A F- ' - T C i - T , f - A A = f p P J - J - J - \ - ■ f ^ k f k b j E P # ^ J u b p f f * - y a a H - P = l : - p P A A P P 4 P p L l J H J _ l1 P P 0 : . - p ----------------------- P t # p ¥ = = P p e = = = j F p - - # — - f J — ^ - a -------------------j - = = J P P P P I f f - p : C f 4 r # r Z K i r .: ':' f H I C \ — 0 -------- S.& B. 5541 i 8 Suite from the Royal Consort (a) PAVAN VIOLIN I VIOLIN II BASS VIOL I BASS VIOL II g È g é â EE m m 127 y =^ - 4 = ; » Û 4 'H O R O U G H - B A S S \ ^ T ' J- M ! > o ^ ^ / T r ~ j ^ j . . ik L - " P " ^ ' ' 4 . |«4‘ ' f f F _ 1 ^ _ S 4 - Z r i i R O R K O K S " ■ - ' " " \ (f#T =^ T 1 v i - z - - -B-i ■ ' .... ^ ' ■ " ——p --- • p P w : - ~ — pj^f 1 r p ^ t f j g --- :f f pp'^l „ „ Q * ..... 4 f-Y lrf ~ '4 # 4 — ■ -f f ----1 ---- ^ — r c r w J i l l J _ # ! — 1 _ _ _ 1 1 ' f y P t f m t f — -P -- ' . , - f ^ T --j t = ------ - F = # = I f 1 ° ^ a r g - ■ . ^ T — ^— 4 » ^ ^ 9 - ------ # , f t f f Y- X * ... 1 » # t f If t j p f /.. z : ; .= I J f U . r 1 — 1 —— —^ — - E --- i_i' N: ■ ■ (7 ■ ' ■ ■ ® --- -j------------ T T "— Ï — i — t -r r ( W f ^ ' 4 7 / r] : ■ - 1 F - ... L --- I — ^ j : - l]tj=J-.- I f o - -... L - z ? —( S > --- T C j# r* H t f ^ f = f = . tir[» r I I £ 6 m M m T V # O # f - o - m p U f l t f M m = g # XT srnrr j---#-b rf T f r r “ fr r f S.& B. 5541 138 30 331 P a # am: irr- m f [ / i f ê A % ^ j- J '* ' D J J n J. rj J3 J J J ■ i Î f i f ^ T T r r J - i w S . ija È r fCrlf f a? # A f # A # - # & 3 # Ë W £ J. . fff # # ,(k - 1 - ÜT # A 8 S m # A M m & = A f f # # A f # P # - # t = ÿ = 8^ i -I T H 7 ' J J m lîr.rjr w ? J - p T = ff ijo A . J___ t L f - , J ....... # | 3 - - S.& B.5541 139 ( h lÿ f - r r f P _ ': ...p : * 0 t . • j f o - - -. £ > o t> - - - J--:, ■k.. I'lr'ffp f - ' ^ - f — 1;= fc * - • ' " - > ■ f f c f f 14'^ ^ ' ' ■ : — * ~ f tf p b # J A — Î— L H I I p ^ ' - # # : A É f r r r r ^ - 3 - — o ----- -------- --- — r~rf"i'-'. . . . f .... LG[^<.. ~ ^ i * r i ) f f . f f r jr p iP p — . ^ jf~------------ ( g î | . # 9 -- - - - - P ' - - - - - - - - - - - - - - - F rA A f-mf- -- - -- -- - -- -- - - - 4 — -J9-:- - - - - - - - - - - - - - - ^ t LrJitJ 1 ^ t . - ^ -- - - r - 1 1 1 1 —^ — ------ 1 r * 1 J -A ------- - !L m |d ------- : — 4 — 1 ---- r — i gF.. 4 . . f ' — = U i... ......... p f-m -P-} ) | o = .- m H - . « 1 ............ —p -:-------------- L w . . ; k f - — T ------ _ _ Lf— L i _ j _ _ - A - ------ IP r ' A f ^ f T frr A i /TN i A # = # W r A # /:\ - o - 1 Î g # m # J J 1 ( 1 A = # # T T C \ TT i f f : j J - J i t f n p f t f c T f M J - 4 . w T "Gr ffffA r W r r (b) AIR VIOLIN I VIOLIN II BASS VIOL I BASS VIOL II THOROUGH-BASS 2 THEORBOES S .& B. 554:1 130 r ' rr i l s j - m - P 10 p m 0 -----0 a m - o - s A £ a # A £ A P i « ü 1 5 m g É # P P # P P - P : f f f . p J- J # i u f . , - L - G P - j % P _ ............................i L T 1 ^ ------------i --------------- Ÿ ............. ......................................................... .... m m , i ----------------- & ----------------------------- 0 r — 0 — T — — ' • — p — Ÿ " r — r f r r A — o ------------------------------------r F i f f f U ^ ----------------------------- 4 3 ' ______ _______ - A ------------- — — & --------------- - “ ....... .................. ■ 0 " - l l 4 £ p ------------------------------ — p --------------------m — ÿ ---------------------------- _ J -------------- 1 ----------------1 ------------------------------- c \ I IA 7 t ' p 7 " ' ~ .......................... 1 ---------------# - # ----------- — ..........- d P = = ^ - r r / P R — ------------------------- ^ --------------------- r f 1 * - 0 — p ------------------------— m --------------------------- ■ ..... 0 ............ ' T T / T s p A — 7 9 ^ --------------------------- T ' - -----------------0 - 0 - — p : ------------------- p — ÿ ----------------------------- U = F = — o -------------------------------------- r \ L T ^ — 1 -------------------------------------- : ----------- t * — S » — S * - N i — L J — J — 1 _ — S.& B.5541 (c) AIR 131 VIOLIN I VIOLIN II BASS VIOL I BASS VIOL II THOROUGH-BASS 2 THEORBOES m XT 1 5 -------• — — TT—: —- - - f f r f t — ' ■ * I * » ( • — g ) _ — 1- --t- -d AT- -----s U A -#— f— 1 ---- -*— r...... - j — #— p--- ■cr - ■ AT L 1 " ' \— f — ----- Ï —o---- ------ IP:-,. % f : f 20 % m w g S.& B.5541 133 (d) GALLIARD VIOLIN I VIOLIN II BASS VIOL I BASS VIOL II THOROUGH-BASS 2 THEORBOES 6: 10 i p p F f w p p m S.&B.5541 (e) CORANT 133 VIOLIN I VIOLIN II BASS VIOL I BASS VIOL II THOROUGH - BASS 2 THEORBOES =Nf - r t i A i . ( 9 -- ) — - # - = — p i ^ J ^ r t t f : I f r - f 15=^ AAf Y j - - p - ■ g < ' .. . a w r =A= | | j - - — p - —c Z i ----------- J p !- 1 f- _ L I #= t¥ - h===^y-M hb=f j t J J . a . . . — 1 j — I — - p — p — \ — j —— — p l Z Z Z ^ A - ! ----- Lj_— ji— ij A A r S.& B. 5541 134 0 o -- -- r p ...f? ...— , a t e - A k r —t —^ — p — r~ ^-LUJ"f - = W rrfrtirrj P=j - r ' p=f= .1 -- ---- ff f r ' ( 5 * — r ppr-- — 1 — : --1 9 --1 # — \ = i - =4= y==i==^^=^ J -- W --- K — p-f~ ...... w - f II (f) SARABAND VIOLIN I VIOLIN I I BASS VIOL I BASS VIOL II THOROUGH - BASS 2 THEORBOES 15 10 S.& B.5541 135 20 1 a (g) S A R A B A N D VIOLIN I VIOLIN I I BASS VIOL I BASS VIOL II THOROUGH-BASS 2 THEORBOES /6> # r - f - T - i s € g Engraved by Lowe and Brydone^ (Printers) Limited London S.&B. 5541 LIST OF SOURCES I : MANUSCRIPTS London: Oxford: Oxford: P a r i s : T e n b u ry : B r i t i s h Museum Add. MS 10445 Add. MS 29290 Add. MSS 29410-15 Add. M S 31429 B o d le ia n L ib r a r y Mus. S ch. MS B. 2 (a u to g ra p h ) Mus. S ch. MS B. 3 (a u to g ra p h ) Mus. S ch. MS C. 89 Mus. Sch. MS C. 90 Mus. S ch. MS D. 229 (a u to g ra p h ) Mus. S ch. MSS D. 238-40 (a u to g ra p h ) Mus. S ch. MSS D. 241-44 Mus. Sch. MSS E. 431-36 C h r is t C hurch Ch. Ch. M S 5 Ch. Ch. MSS 391-96 Ch. Ch. M S 430 Ch. Ch. MSS 479-83 Ch. Ch. MSS 725-27 Ch. Ch. MSS 754-59 C o n s e r v a to ire R es. M S 770 S t . M ic h ae l * s C o lle g e T en. M S 302 11 : EARLY PRINTED BOOKS CMA Courtly Masquine Ayres (London: 1 6 6 2 ), ed. by John Playford. London, British Museum. MB A Musicall Banquet (London: 1 6 5 1 ), ed. by John Playford. O x fo rd , B o d le ia n L ib r a r y . 136 CRITICAL CO M M EN TA RY I n a l l c a s e s w here t h e r e a r e d is c r e p a n c ie s b etw een th e s o u rc e s W illia m Law es*s a u to g ra p h s a r e th e f i n a l a u t h o r i t y f o r t h i s e d i t i o n . I t i s o n ly i n i n s t a n c e s o f o m is s io n , o v e r s i g h t, o b v io u s e r r o r o r th e la c k o f an a u to g ra p h t h a t r e a d in g s from o th e r s o u rc e s a r e f o o tn o te d . A ll o f th e s o u r c e s , h o w ev er, h av e b een c o n s u lte d by th e e d i t o r and th o s e t h a t a r e c o m p lete o r t h a t h a v e a p a r t i c u l a r v a lu e o r i n t e r e s t a r e l i s t e d i n t h i s com m entary i n th e o r d e r o f t h e i r im p o rta n c e . The o r i g i n a l t r a n s c r i p t i o n s w ere made from th e a u to g r a p h s . N o ta tio n a l p r a c t i c e s o f th e p e r io d h a v e b e e n e d it e d t o conform t o p r e s e n t- d a y m u sic w r i t i n g . T hese and o th e r e d i t o r i a l c h an g es a r e in c lu d e d i n th e f o llo w in g l i s t : E d i t o r i a l a c c i d e n t a l s h av e b e e n k e p t t o a minimum. T hese a r e g iv e n i n s m a ll ty p e and a r e t o b e t r e a t e d l i k e o r d in a r y a c c i d e n t a l s . A c c id e n ta ls r e s u l t i n g from an e d i t o r i a l change o f k e y - s i g n a t u r e , i . e . , c o n s e q u e n tia l a c c i d e n t a l s , a r e shown i n s m a ll ty p e b u t a r e t o b e t r e a t e d a s o r d in a r y a c c i d e n t a l s . R edundant a c c i d e n t a l s w ith in a b a r h ave b e e n o m itte d e x c e p t i n some c a s e s o f e x tre m e c h ro m a tic is m . N a tu ra l s ig n s a r e em ployed i n s t e a d o f s h a rp s o r f l a t s f o r th o s e n o te s in te n d e d t o b e n a t u r a l i z e d ( e .g . Bkj n o t B # " ) . F re q u e n t ch an g es o f c l e f s w ith in a p a r t h a v e b e e n tr a n s p o s e d t o a s i n g l e c l e f , e x c e p t i n th e c a s e o f t h e s u i t e from th e "R o y al" C o n so rt w here th e y h a v e a n a l y t i c im p o rta n c e . The o r i g i n a l n o te - v a lu e s a r e a p p r o p r ia te and a r e t h e r e f o r e m ain t a i n e d i n t h i s e d i t i o n , w ith th e e x c e p tio n o f th e g a l l i a r d s o f th e v i o l i n s o n a ta s . R e g u la r b a r r i n g h a s b e en a d o p te d and th e b a r s h av e b e en num bered. D oublé b a r - l i n e s h a v e b e en i n s e r t e d a t th e end o f d an ce s t r a i n s and th e s e s t r a i n s h av e b e en l e t t e r e d . F i r s t - and s e c o n d -tim e b a r s h a v e b e e n added w here r e q u i r e d . M odern k e y - s ig n a tu r e s and tim e - s i g n a t u r e s a r e em ployed, th e o r i g i n a l s b e in g shown on th e p r e f a t o r y s t a v e s . The s i x - l i n e s ta v e s i n th e o rg a n and h a rp p a r t s h a v e b e en re d u c e d t o f i v e l i n e s . Longs o r b r e v e s w ith p a u s e s w hich u s u a l ly o c c u r a t th e end o f s t r a i n s o r p ie c e s a r e c o n v e n tio n a liz e d . 137 138 Spellings have been modernized; the originals are to be found in the Catalogue at the end of Volume I. I n th e r e f e r e n c e s b e lo w , b a r s a r e shown i n A ra b ic n u m e ra ls , p a r t s a r e shown i n Roman n u m e ra ls w ith th e u p p erm o st p a r t num bered I , 0 d e n o te s th e o rg a n p a r t and H th e h a rp p a r t and th e s e a r e f u r t h e r b ro k e n down i n t o s , a , t , b (so t h a t , e . g . , 3 t w ould i n d i c a t e th e t h i r d n o te i n th e te n o r v o i c e ) , t h e num ber o f th e n o te i n th e b a r i s g iv e n i n A ra b ic n u m e ra ls , p i tc h e s a r e w r i t t e n a s c a p i t a l l e t t e r s , and s o u rc e s a r e l i s t e d a s shown on p . 136 i n th e o r d e r o f t h e i r im p o rta n c e . R e fe re n c e s fo llo w th e form ; b a r num ber, p a r t , num ber o f th e n o te i n th e b a r , e r r o r , s o u rc e i n w hich t h i s e r r o r i s fo u n d . EXAMPLE; E (Mus. S ch. D. 229) 7 6 .0 .I . a : m eans b a r 7 6 , th e o rg a n p a r t , th e f i r s t n o te i n th e a l t o v o ic e i s an E i n th e a u to g ra p h i n th e B o d le ia n L ib r a r y , c la s s -m a rk : M S Mus. S ch. D. 229. CR=the t i t l e g iv e n t o t h e w ork by th e e d i t o r i n h i s C a ta lo g u e o f I n s t r u m e n ta l Works i n Volume I . The t i t l e s o f th e i n d iv i d u a l m ovem ents a r e th o s e o f th e com poser. l a S o u rc e s : Mus. S ch. B. 2 , Mus. S ch. D. 229, Add. 29410-14 One o f s i x t e e n f a n t a s i a s , p av an s and a i r e s i n f i v e p a r t s w ith o rg a n r e d u c tio n and s p e c i f i e d " F o r Y® V i o l l s . " CR: F iv e - P a r t C o n so rt S u ite No. I. i n G M inor ( th e f i r s t o f t h r e e m ovem ents c o m p ris in g : (1 ) F a n ta z y ; (2) On The P la y n e -s o n g ; (3) A ire ) 76 0 l a : E (Mus. S ch. D .2 2 9 ). The F ^ ^ i s e d i t o r i a l s in c e t h i s a u to g ra p h i s t h e o n ly e x ta n t copy o f th e o rg a n r e d u c tio n . 139 lb S o u rc e s : Mus. Sch. B .2 , Mus. S ch. D. 229, Add. 2 9 4 1 0 -1 4 , T e n .302. A n o th e r o f th e same s e t . I t i s w ro n g ly named Innom ine i n Add. 2 9 4 1 0 -1 4 . The "p la y n e so n g " a p p e a rs t o b e from a s e c u l a r w ork r a t h e r th a n from th e l i t u r g y . CR; See l a . 114 I l : d o t m is s in g from p re v io u s m inim (Mus. Sch. B .2 ) . I t i s s u p p lie d h e r e from Add. 29411. T h ere i s no b a r l i n e a t t h i s p o in t i n t h e MSS. Ic Sources: Mus. Sch. B .2 , Mus. Sch. D .2 2 9 , Add. 2 9 4 1 0 -1 4 , Mus. S ch. E. 431-36 A n o th e r o f th e same s e t . CR: See l a . 2. S o u rc e s : Mus. Sch. B .2 , Mus. S ch. D .2 2 9 , Add. 29410-14 A n o th e r o f th e same s e t . B a rs 97-125 h av e b e en s c r a tc h e d o u t i n p en and in k i n th e a u to g ra p h , b u t s in c e th e y a r e l e g i b l e th e y h av e b e en in c lu d e d h e r e . Lawes e v id e n tly in te n d e d th e o m is sio n s in c e t h e s e b a r s a r e a b s e n t from th e o th e r s o u r c e s . CR: F iv e - P a r t Con s o r t S u ite No. 2 I n A M inor ( th e f i r s t o f t h r e e m ovem ents c o m p ris in g : (1 ) F a n ta z y ; (2) F a n ta z y ; (3) A i r e ) . 3 S o u rc e s : Ik is. S ch. B .2 , Mus. Sch. D .2 2 9 , Add. 29410-14 A n o th e r o f th e same s e t . CR: F iv e - P a r t C o n so rt S u ite No. 3 i n C M inor ( th e f i r s t o f f o u r m ovem ents c o m p risin g : (1 ) F a n ta z y ; (2 ) Aire: (3) Paven: (4 ) Aire). 4 a S o u rc e s : Mus. Sch. B .2 , Mus. S ch. D. 229, Add. 2 9 4 1 0 -1 5 , Ch. Ch. 479-83 One o f s e v e n te e n f a n t a s i a s . I n N om ines, p a v an s and a i r e s in s i x p a r t s w ith o rg a n r e d u c tio n . CR: S ix - P a r t C o n so rt S u ite No. I i n £. M inor ( th e f i r s t o f f o u r m ovem ents c o m p risin g : (1 ) F a n ta z y ; (2) F a n ta z y ; (3) In o m in y ; (4) A i r e ) . 140 4b S o u rc e s : Vtas, S ch. B. 2 , Mus. S ch. D. 229, Add. 29410-15, Ch. Ch. 479-83 A n o th e r o f th e same s e t . CR: See 4 a . b 25 VI 6 , 26 VI 2: B *s i n (Mus. S ch. B. 2 ) . The c o rre s p o n d in g i m i t a t i o n 22 II 6 , 23 II 2 h a s B t^ * s and so do b o th i n s t a n c e s i n Add. 29410-15 From b a r 115 t h e p a r t s o n ly a r e n o t a u to g ra p h s in c e th e y a r e m is s in g from Mus. Sch. B. 2. The o rg a n a u to g ra p h i n Mus. Sch. D. 229 i s c o m p le te . The p a r t s h e r e , from b a r 115 to th e e n d , h a v e b e en t r a n s c r i b e d from Add. 29410-15. 4c S o u rc e s : Mus. Sch. B. 2 , Mus. S ch. D. 229, Add. 2 9 4 1 0 -1 5 , Ch. Ch. 479-83 A n o th e r o f th e same s e t . CR: See 4 a . 4d S o u rc e s : Ch. Ch. 4 7 9 -8 3 , Mus. S ch. D. 229, Add. 29410-15 A n o th e r o f t h e same s e t . The p a r t s a r e n o t a u to g ra p h . CR: See 4a, 2 IV 4 : no t i e i n Add. 29413. 14 I 3 : i n Ch. Ch. 4 7 9 . 15 IV 2: A b i n Add. 29413. 25 VI 7 : i n 29415. 34 I 4 t E * * i n Ch. Ch. 479. 41 VI 2: c r o t c h e t i n Ch. Ch. 4 8 3 . 47 IV I : m inim m is s in g i n Ch. Ch. 482. 5 S o u rc e s : Mus. S ch. B. 2 , Mus. S ch. D. 229, Add. 2 9 4 1 0 -1 5 , Ch. Ch. 479-83 A n o th e r o f th e same s e t . CR: S ix - F a r t C o n so rt S u ite No. 3 B^ M ajor ( th e seco n d o f t h r e e m ovem ents c o m p risin g : (1 ) F a n ta z y ; (2) Inom iny; (3) A i r e .) 71 I I I 3 ,4 : th e n o te s h av e b een w r i t t e n o v e r and and D a r e a ls o p r e s e n t (Mus. S ch. B. 2 ) . Add. 29412 h a s th e F and E^. 141 6a S o u rc e s : îftis. Sch. B .2 , Mus. Sch. D. 229, Mus. Sch. D. 2 3 8 -4 0 . One o f se v en p a v a n s , alm ans and a i r e s " s e t t t o th e O rgan and 2 D iv is io n B ase V i o l ls by W ill: L aw es". T h is and th e f o llo w in g p ie c e s a r e t i t l e d "P av an and Alman o f A lfo n so Q p e rra b o sc o l iQ ." CR: S u ite No. 2 i n C M ajor f o r Two B ass V io ls and O rgan ( th e f i r s t o f two m ovem ents c o m p risin g : (1) P av en ; (2) A lm an.) F e r r a b o s c o 's them e i s i n th e so p ra n o v o ic e o f t h e o rg a n p a r t and i s from h i s f i v e - p a r t p ie c e s i n t h e C h r is t C hurch M S 4 2 3 -2 8 . 6b S o u rc e s : Mus. S ch. B. 2 , Mus. Sch. D. 229, Mus. Sch. D. 2 3 8 -4 0 . A n o th e r o f th e same s e t . CR; See 6 a . 7a S o u rc e : Ch. Ch. 725-27 One o f s i x f a n t a s i a s , p av an s and a i r e s i n t a b l a t u r e . I t i s n o t a u to g ra p h and i s d e s ig n a te d " f o r 3 L ero V y a lls " . The tu n in g i s g iv e n a s " E ig h t s " , w hich m eans t h a t a l t e r n a t e s t r i n g s w ere tu n e d i n o c ta v e s , o r a s f o llo w s : D, G, d , g , d ^ , g ^ . CR: S u ite No. 2 i n G M inor f o r T h ree L y ra V io ls ( th e f i r s t o f two m ovem ents com p r i s i n g : (1) f f a n t a s i e ; (2) A lm a in e ). 7b S o u rc e : Ch. Ch. 725-27 A n o th e r o f th e same s e t . CR: See 7 a. 8a S o u rc e s : îfe s . S ch. D. 2 3 8 -4 0 , Mus. Sch. D. 229, Ch. Ch. 5 , MB, C M A One o f t h i r t y p a v a n s , f a n t a s i a s , a i r e s , a lm a n s, c o ra n ts and s a r a b a n d s w ith w r i t t e n - o u t v a r i a t i o n s o r " d i v is io n s " d e s ig n a te d " f o r th e H a rp e , B ase V i o l l , V io lin and T h e o rb o ". CR: " H arpe" C o n so rt No. 1 ^ G M inor ( th e f i r s t o f f o u r m ovem ents c o m p ris in g : (1) A lm ane; (2) C o r a n t; (3) C o ra n t; (4) S a ra b a n d ). The o u ts id e v o ic e s o f th e h a rp p a r t a r e from Mus. S ch. D. 229; th e i n s i d e v o ic e s a r e added from Ch. Ch. 5 . M B and C M A c o n ta in o n ly th e v i o l i n and th e o rb o p a r t s , w ith o u t th e d i v i s i o n s . 142 8b S o u rc e s : Mus. S ch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Ch. Ch. 5 , MB, C M A A n o th e r o f th e same s e t . CR: See 8 a . 8c S o u rc e s : Mus. S ch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Ch. Ch. 5 , C M A A n o th e r o f th e same s e t . CR: See 8 a . 8d S o u rc e s : I k is . Sch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Ch. Ch. 5 , C M A A n o th e r o f th e same s e t . CR: See 8 a . 6 X1 : F 4^ i s s u p p lie d from Ch. Ch. 5 . 9 S o u rc e s : Mus. S ch. B. 3 , Mus. Sch. D. 2 3 8 -4 0 , Ch. Ch. 5 A n o th e r o f th e same s e t , b u t o f l a r g e r d im e n sio n s and c o n ta in in g a m ore e la b o r a t e p a r t f o r th e h a r p . CR: " H arpe" C o n so rt No. B i n G Maj o r 5 X1 : c r o t c h e t A fo llo w e d by q u a v e rs B and C (Mus. S ch. D. 2 3 9 ). 10 S o u rc e s : Mus. S ch. B. 3 , Mus. Sch. D. 238-40 A n o th e r o f th e same s e t and s i m i l a r t o 9 . Lawes h a s s ig n e d th e name "Corm acke" t o th e th e o rb o p a r t i n Mus. Sch. D. 238. CR: " H arpe" C o n so rt No. 9 i n D Maj o r upon a b a s s Theme by " Cormacke" M M M M M M a k n M N » « M H B M M M M M M M M M n M » M M M M » M M » « M M M M M « M M « M M M m M m IM M M » M M m A m M M M M M M » . M M B M M M M M M » « M M H M M M M iM B M M » mmÊmtLm M M M M M M » M M M ^ M M M M M » M » 70 I I : th e b a s s v i o l p a r t i n th e a u to g ra p h s c o r e . Mus. S ch. B. 3 , h a s f o r t h i s d i v i s i o n o n ly th e v i o l i n p a r t o f th e p r e v io u s s t r a i n . The a u to g ra p h p a r t- b o o k . Mus. Sch. D. 240 h a s th e v e r s io n p r i n t e d h e r e . 11 S o u rc e s : Mus. S ch. B. 3 , Mus. S ch. D. 238-40 A n o th e r o f th e same s e t and s i m i l a r t o 9 . Lawes h a s t i t l e d t h i s p ie c e "P aven o f C o p ra rio " . C o p e r a r io 's them e i s i n th e b a s s o f th e h a rp p a r t and may b e exam ined i n i t s o r i g i n a l s e t t i n g i n V o l. IX o f M usica B r i ta n n i c a , w here i t i s No. 101. CR: " H arpe" C o n so rt No. 10 i n G. M inor upon a B ass Theme by G io v an n i C o p e r a rio . 143 12a S o u rc e s : Mus. S ch. D. 2 3 8 -4 0 , Mus. Sch. D. 229, Mus. Sch. C. 9 0 , Add. 29290, Ch. Ch. 4 3 0 , Add. 10445 One o f tw e n ty - f o u r p ie c e s d iv id e d i n t o e ig jit s e t s o f t h r e e , e ac h s e t c o m p risin g a f a n t a s i a , an alm an and a g a l l i a r d . The i n s t r u m e n ta tio n i s s p e c i f i e d f o r v i o l i n , b a s s v i o l and o rg a n . CR; S o n a ta No. 1 i n G M inor f o r V io lin , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p risin g : (1 ) F a n ta z ia ; (2) A ire ^ I m a iQ ; i s i n g : ( I ) F a n ta z ia ; (2) A ire |^^Almai Ï3 ) A ir e | t o l l i a r d ] ] ) . 65 0 I s : m inim la c k in g (Mus. S ch. D. 2 2 9 ). I t i s s u p p lie d by Mus. S ch. C. 90. JA. th e p a u se i n th e same b a r . 12b S o u rc e s : The same a s 12a The seco n d movement o f th e f i r s t s e t . CR: See 1 2 a. 12c S o u rc e s : The same a s 12a The t h i r d movement o f th e f i r s t s e t . CR: See 1 2 a. 13a S o u rc e s : Mus. Sch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Mus. Sch. C .9 0 , Add. 29290, Ch. Ch. 4 3 0 , Add. 10445 The f i r s t movement o f th e s e v e n th s s e t o f th e above p i e c e s . CR: S o n a ta No. 7 i n D M inor f o r V i o l i n , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p risin g : (1) F a n ta z ia ; (2) A ire J*A lm an^ ; (3) A ire j c a l l i a r d ^ ) . 13b S o u rc e s : The same a s 13a The seco n d movement o f th e s e v e n th s e t . CR: See 1 3 a. 13c S o u rc e s : The same a s 13a The t h i r d movement o f th e s e v e n th s e t . CR: See 1 3 a. 144 14a S o u rc e s : Dkis. S ch, B, 2, Mus. S ch. D. 2 3 8 -4 0 , Mus. Sch. D. 2 2 9 , Mus. Sch. C. 9 0 , Add. 29290, Ch. Ch. 4 3 0 , Add. 10445 The f i r s t movement o f th e e ig h th s e t o f th e above p i e c e s . T h ree a u to g ra p h s o f t h i s w ork a r e e x t a n t . T h is t r a n s c r i p t i o n i s from t h e a u to g ra p h s c o r e i n Mus. S ch. B. 2; th e s m a ll n o te s a r e a d d i t i o n a l from Mus. Sch. D. 229. CR: S o n a ta No. ^ i n D M ajor f o r V i o l i n , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p ris in g : (1 ) F a n ta z ia ; (2) A ire j^AlmaiQ ; (3) A ir e ^ a l l i a r c Q ) 69 0 I t : C (Mus. S ch. D. 2 2 9 ). 14b S o u rc e s : Mus. Sch. D. 2 3 8 -4 0 , Mus. Sch. D. 229, Mus. S ch. C. 9 0 , Add. 29290, Ch. Ch. 4 3 0 , Add. 10445 The seco n d movement o f th e e ig h th s e t . CR: See 14a. 14c S o u rc e s : The same a s 14b Thé t h i r d movement o f th e e ig h th s e t . CR: See 1 4 a. 15a S o u rc e s : Mus. Sch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Mus. S ch. C. 8 9 , Add. 29290, R es. 770, Ch. Ch. 430 One o f tw e n ty - f o u r p ie c e s d iv id e d i n t o e i g h t s e t s o f th r e e . E ach s e t c o m p risin g a f a n t a s i a , an alm an and a g a l l i a r d . The i n s t r u m e n ta tio n i s t h a t o f t h e t r i o - s o n a t a and i s s p e c i f i e d f o r two v i o l i n s , b a s s v i o l and o rg a n . CR: S o n a ta No. 1. ^ G M inor f o r Two V i o l i n s , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p ris in g : (1 ) F a n ta z ia ; (2) A ire ^ Im a iQ ; (3) A ire ^ a l l i a r ^ ). 15b S o u rc e s : The same a s 15a The seco n d movement o f th e f i r s t s e t . CR: See 15a. 15c S o u rc e s : The same a s 15a The t h i r d movement o f th e f i r s t s e t . CR: See 1 5 a. 145 16a S o u rc e s : Mus. S ch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Mus. S ch. C. 8 9 , Add. 2 9 2 9 0 , rI s . 770, Ch. Ch. 430 The f i r s t movement o f th e s i x t h s e t o f t h e above p i e c e s . CR: S o n a ta No. 6 i n D. M ajor f o r Two V i o l i n s , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p risin g : (1) F a n ta z ia ; (2) A ire jA lm aiQ ; (3) A ire J ^ l l i a r d ^ ) . 62 I I I 2: A t t h i s p o in t Lawes in c lu d e s an a l t e r n a t e p a r t f o r th e s e d i v i s i o n s , t h e a l t e r n a t e b e in g i d e n t i c a l w ith th e b a s s o f th e o rg a n p a r t , 16b S o u rc e s : The same a s 16a The seco n d movement o f th e s i x t h s e t . CR: See 1 6 a. 16c S o u rc e s : The same a s 16a The t h i r d movement o f th e s i x t h s e t . CR: See 1 6 a. 17a S o u rc e s : îfe s . S ch. D. 2 3 8 -4 0 , Mus. S ch. D. 229, Mus. S ch. C. 8 9 , Add. 29290, R es. 770, Ch. Ch. 430 The f i r s t movement o f th e s e v e n th s e t o f th e above p i e c e s . CR: S o n a ta No. 2 iB S M inor f o r Two V i o l i n s , B ass V io l and O rgan ( th e f i r s t o f t h r e e m ovem ents c o m p risin g : (1) F a n ta z ia ; (2) A ire ^AlmaiQ ; (3) A ire j c a l l i a r d j ) . 17b S o u rc e s : The same a s 17a The seco n d movement o f th e s e v e n th s e t . CR; See 1 7 a. 17c S o u rc e s : The same a s 17a The t h i r d movement o f th e s e v e n th s e t . CR: See 1 7 a. 146 18a S o u rc e s : Mus. Sch. B. 3 , Ch. Ch. 7 5 4 -5 9 ; Ch. Ch. 3 9 1 -9 6 , Mus. Sch. E. 4 3 1 -3 6 ; Mus. S ch. D. 2 4 1 -4 4 , Add. 10445, Ch. Ch. 479-83 One o f a t l e a s t s i x t y - f o u r f a n t a s i a s , p a v a n s , a i r e s , c o r a n t s , a lm a n s, " e c c o s " , and sa ra b a n d s p o p u la r ly known a s th e " R o y a ll" C o n so rt and d e s ig n a te d f o r two v i o l i n s , two b a s s v i o l s and a t h o r o u g h -b a ss f o r two th e o r b o e s . The c o l l e c t i o n e x i s t s i n s e v e r a l v e r s io n s w ith d i f f e r e n t in s tr u m e n ta tio n s . CR: S u ite No. 2 I S 2 M inor from th e " R o y a ll" C o n so rt ( th e f i r s t o f se v en m ovem ents c o m p risin g : (1 ) P av an ; (2) A ir e ; (3) A i r e ; (4 ) A ire J c a l l ia r c Q ; (5) C o ra n t; (6 ) S a ra b a n d ; (7 ) S a ra b a n d ). 18b S o u rc e s : The same a s 18a b u t n o t i n Mus. Sch. E. 431-36 A n o th e r o f th e same s e t . CR: See 1 8 a. 18c S o u rc e s : The same a s 18d and in c lu d in g Add. 31429 A n o th e r o f th e same s e t . CR: See 1 8 a. 18d S o u rc e s : The same a s 18c b u t n o t i n Mus. S ch. E. 431-36 A n o th e r o f th e same s e t . CR: See 1 8 a. 18e S o u rc e s : The same a s 18c A n o th e r o f th e same s e t . CR: See 1 8 a. 1 8 f S o u rc e s : The same a s 18c A n o th e r o f th e same s e t . CR: See 1 8 a. 18g S o u rc e s : Mus. S ch. B. 3 , Ch. Ch. 7 5 4 -5 9 , Mus. Sch. D. 2 4 1 -4 4 , Add. 10445, Ch. Ch. 479-83 A n o th e r o f th e same s e t . CR: See 1 8 a.

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Creator Lefkowitz, Murray (author)

Core Title William Lawes: His life and works

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