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Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
This first volume of a projected two volume study of the music of
John Jenkins concentrates exclusively on his consorts for viols.
John Jenkins (1592-1678) was both the most prolific and most
esteemed of English composers between the death of Byrd and the
rise of Purcell. During his long life he was employed as a resident
musician in East Anglian noble households and became a court
musician to Charles II in his later years. This is the first in a
two-volume study of Jenkins and his music. It presents a
biographical introduction to the composer then concerns itself
exclusively with the superb consorts for viols which dominate the
early part of the composer's career. It is profusely illustrated
with music examples and discusses virtually every work in this
form. ANDREW ASHBEE is an internationally renowned expert on C17th
English instrumental music, has edited a number of volumes of music
from the period, and is an author, broadcaster and lecturer.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
The Viola da Gamba Society Thematic Index of Music for Viols (ed.
Gordon Dodd), 1980-92 (and continuing), is composer-based. The
present volume initiates a companion project to catalogue
manuscripts containing consort music. The editors are all highly
experienced in the field and have newly examined all sources.
Volume 1 features over 50 MSS whose copyists or owners are known:
Bing, Hutton, Jenkins, Le Strange, Lilly, Merro, North. As well as
a detailed inventory of every book (with anonymous work identified
where possible), the descriptions include information on date,
size, binding, paper, rastra, watermarks, collations, scripts,
inscriptions and provenance, together with bibliographical
references. Brief notes on the owners and copyists are provided. Of
particular importance is the inclusion of facsimiles of all hands.
Also included is a comprehensive study and illustration of
watermarks by Robert Thompson (serving for the whole series). With
some printed catalogues such as the British Library and Christ
Church, Oxford, now nearly 100 years old, this new and
comprehensive study will be an invaluable tool for future research.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
Pioneering work on the musical material from the archives of the
English court was undertaken by Nagel (1894), Lafontaine (1909) and
Stokes (in the Musical Antiquary 1903-1913). Records of English
Court Music (a series of seven volumes covering the period
1485-1714) is the first attempt to compile a systematic calendar of
such references. It aims to revise these earlier studies where
necessary, adding significant details which researchers omitted,
clarifying the context of documents and substituting current
call-marks for defunct references. Volume V is primarily concerned
with the post-Restoration years already partially covered in
volumes I and II. The material from the Exchequer and Declared
Accounts of the Treasurer of the Chamber has been revised to
include references to trumpeters and drummers. Other sections are
devoted to material outside the Lord Chamberlain's papers: the
Signet Office Docquet Books, Secret Service accounts and more from
the Exchequer; the Corporation of Musick (controlled by the Court
musicians) and to the range of music material from accounts of the
Receivers General. Samples from the comprehensive records of the
Lord Steward's department (including those of the Cofferer of the
Household) are also provided. Andrew Ashbee was the winner of the
Oldman Prize in 1987 for Volume II in the series of 'Records of
English Court Music', awarded by the UK branch of the International
Association of Music Libraries for the year's best book on music
librarianship, bibliography and reference.
This is the first in a two-volume study of Jenkins and his music.
It concerns itself exclusively with the superb consorts for viols
which dominate the early part of the composer's career.
The long-awaited sequel to Andrew Ashbee's pioneering study of the
life and music of John Jenkins (1592-1678). The primary focus of
this second volume is Jenkins' huge output of fantasia-suites, but
his vocal music also comes under examination, and a complete
source-list of Jenkins' music is provided. John Jenkins (1592-1678)
was both the most prolific and the most esteemed of English
composers in the fifty years or so between the death of William
Byrd and the rise of Henry Purcell. After his apprenticeship
Jenkins became renowned as a skilled performer on lute and viol,
once playing to Charles I 'as one that performed somewhat
extraordinary'. Throughout his long life he was employed as a
resident musician in East Anglia in households of the nobility,
where, as well as playing, teaching and directing the music-making,
his duties would include the composing and copying of music. At the
restoration of Charles II Jenkins became a court musician,
although, in view of his advanced age, he spent little time there.
He died on 27 October 1678 at Kimberley, Norfolk, where he is
buried. As a composer, Jenkins' preferred medium was instrumental
music, and he wrote little else. He came to maturity in the
1620s,when the consort fantasia for viols was in its prime. In
later years he turned to the newer music then in vogue, such as the
fantasia-suite and suites of dances, contributing significantly to
their development. This book is the second in a two-volume study of
Jenkins and his music. Volume I contains a full biographical
introduction before concerning itself exclusively with the superb
consorts for viols which dominate the early part of the composer's
career. This second volume surveys the rest of his output, setting
each group of pieces in context, beginning with his innovative
series of fantasia-suites. Although often unpretentious and geared
to amateur performance, his 'horsloads' of airs maintain a lively
and varied character. More than fifty works for bass viol(s) are
among the best of their kind, as are the pieces featuring the lyra
viol in both solo and consort works. The book ends by examining
Jenkins' vocal music. Whatever medium he chose, Jenkins was able to
add important pieces to the repertory. An growing list of
recordings endorses Christopher Simpson's view that he was 'the
ever Famous and most Excellent Composer,in all sorts of Modern
Musick'.
John Jenkins (1592-1678) was acknowledged by his English
contemporaries as a supreme composer of instrumental music. A
conference held in 1992 to commemorate the four-hundredth
anniversary of his birth, rather than focusing only on his life and
work, set these in a wider context. Some of the papers included
here were first presented at the conference, but are supplemented
by others giving a broad conspectus of current work by leading
scholars in the field of English consort music. The collection
embraces various aspects not only of Jenkin's work, but also some
of his contemporaries (Gibbons, Ferrabosco II, Mico, Cobbold),
instruments (lute, lyre, viol, organ), and consort manuscripts,
including their patrons and copyists.
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