Anthony Poole (c.1629-1692), the Viol and Exiled English Catholics Patxi Xabier del Amo Iribarren Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Music March, 2011 1 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Patxi Xabier del Amo Iribarren to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2011, The University of Leeds and Patxi Xabier del Amo Iribarren. 2 Acknowledgements First and foremost, I would like to thank my supervisor, Professor Peter Holman, and the Music Department at the University of Leeds for all the support I have received during my time as a research student here. Working alongside Peter on this project has been an extraordinary privilege. His passion for the subject matter, wealth of knowledge and zeal for precision, made him an ideal guide and companion on this expedition. Our supervision sessions were invariably thought-provoking, mind-broadening, assumption-challenging and inspirational, and I rate what I managed to learn in them as the most valuable treasures I take away from this experience. A number of scholars and archivists helped me in various ways, and without their encouragement and observations this research project would not have been as rewarding as it has turned out to be. Thanks are due to Camino Azcona, Edward Corp, Tim Crawford, Anna Edwards, Johan Eeckeloo, Michael Fleming, Lucía García Gangoiti, François-Pierre Goy, Laurent Guillo, David Irving, Brigitte Klein, Scott Landvatter, Peter Leech, Thomas McCoog SJ, Sheila Mckenzie, Patricia Ranum, Rudolf Rasch, John Rattenbury, Nathalie Rébéna, Lucy Robinson, Robert Thompson, Richard Turbet, Richard Turner, Peter Ward Jones and Maurice Whitehead. Musicians Arngeir Hauksson, Mie Hayashi, Judy Tarling and Marianna Szűcs played through many of my transcriptions and contributed their insights and expertise. I should regret to have omitted anybody, and I request their forgiveness if I have. Responsibility for any errors rests with the author. I am grateful to the Musica Britannica Trust for a Louise Dyer Award which helped support this project. Finally, this piece of research would not be here had it not been for the unwavering support of my friends and family. My wife Kate’s unique blend of love and optimism, and the arrival of our son Daniel, have provided me with much inspiration and encouragement. 3 Abstract The bass violist and composer Anthony Poole was educated in the network of Catholic Colleges that the English Jesuits kept in Europe. He went on to be ordained a Jesuit priest and to make an outstanding contribution to the musical life of the institutions he lived and taught in, notably the English College at Saint-Omer, in Spanish Flanders. Poole’s output will be shown to be of importance in the history of seventeenth-century instrumental music, especially in the context of the development of the sonata in England and division-viol music in Europe. His music has not been collected, catalogued or studied before, and this thesis presents it against the backdrop of several generations of English musicians who spent all or part of their working lives abroad. The significance of migrant musicians is often neglected by comparison with that of native musicians, perhaps because the latter fit our perceptions of national styles better, and this thesis goes some way towards appraising that contribution. The bass viol, or the ‘Brittanica Chelys’ in the words of the expatriate Latin poet Dr John Alban Gibbes, was an instrument with strong Catholic and Royalist resonances in England, and extemporising divisions on it became in post-Thirty- Years-War Europe a quintessentially English art, as will be shown in chapter one. Chapter two presents as full a biographical account as is possible at present, and chapter three considers all extant sources of Poole’s music, exploring how his works made their way to the exiled court at Saint-Germain-en-Laye, the library of Phillip Falle, the viol-playing circle of William Noble in Oxford, and elsewhere in England. This thesis contains therefore a significant contribution to our understanding of the history of English Jesuit music, the court of James II, and the circulation of Continental music in Restoration England. Chapter four is a stylistic discussion of the music, its influences and reception, and the appendix consists of a thematic index of Poole’s works. 4 Table of Contents List of Illustrations 6 List of Tables 7 List of Musical Examples 8 Note to the Reader 9 Abbreviations and Library Sigla 10 Preface 15 Chapter 1: Religion, Exile and Viols 17 English Catholicism and Exile 18 The Jesuits’ Educational Network 22 The Jesuits, The Arts and Music 26 England and the Netherlands 28 English Exile, Catholicism and the Viol 34 The Development of a Solo Bass Viol Repertoire 63 Chapter 2: A Biographical Account of Anthony Poole 73 Childhood in England 74 A Scholar at St Omers (1641-1646) 87 The English College in Rome (1646-1648) 105 1648-1658 120 Back at St Omers (1659-1678) 128 Liège (1679-1692) 147 Chapter 3: Sources, their Relationships and Transmission 151 Music for Bass Viol 152 Music for Violin and Continuo 212 Music for Violin, Bass Viol and Continuo 224 Music for Two Bass Viols and Continuo 236 Music for Two Violins, Bass and Continuo 240 Incomplete Works (Uncertain Scoring) 248 Chapter 4: Stylistic Matters 252 Music for Bass Viol or Violin with and without Continuo 253 Music for Violin, Bass Viol and Continuo 279 Music for Two Bass Viols and Continuo 284 Music for Two Violins, Bass and Continuo 286 5 Conclusions 292 Bibliography 295 Appendix: A Thematic Index of Works by Anthony Poole 321 List of Illustrations 1.1 ‘Artois’ in Joan Blaeu, Theatrum Orbis Terrarum, sive, Atlas Novus, part I (1657), by permission of Leiden Regional Archives. 25 2.1 ‘Derbyshire’ in Joan Blaeu, Theatrum Orbis Terrarum, sive, Atlas Novus, part IV (1648), by permission of Leiden Regional Archives. 75 2.2 Family chart for Anthony Poole and the Pooles of Spinkhill 77 2.3 Detail from a Saint-Omer engraving by F. Vander Meulen (Paris, 1685), by permission of Collectie Bodel Nijenhuis of Leiden University. 88 2.4 ‘Templum et Domus Professa Soc[ieta].tis Jesu Antverpiae’, by Iacobus Neeffs (c.1650), by permission of Collectie Bodel Nijenhuis of Leiden University. 89 2.5 The English College in Rome c.1580, by permission of the Venerable English College. 115 2.6 The song ‘Astrorum Jubar’, GB-Lbl, Harleian MS 5024, ff.13v-14, by permission of the British Library Board. 118 2.7 The Flemish town of Watten. An engraving in Antonius Sanderus’s 1641 cartographic compendium Flandria Illustrata. 127 2.8 ‘Prospectus Collegij Anglorum Audomarensis Societatis Jesu’. A 1689 engraving by Guillaume Montbard, by permission of Stonyhurst College Archive. 130 2.9 Christopher Simpson, The Division-Viol (London, 1667), p.1. 140 2.10 ‘Les Petites Conquêtes du Roi: Siège de St Omer’, by Sébastien Leclerc, by permission of the Trustees of the British Museum. 146 2.11 ‘Plan et Elevation du Colege et Jardin des R: Peres Jesuites Anglois a Liège’ by R. Le Loup, an engraving in E. Kints, Les Dèlices du Païs de Liège (Liège, 1738), by permission of 6 Collectie Bodel Nijenhuis of Leiden University. 148 3.1 Watermark and countermark pair in F-Pn, Vm7 137323 159 3.2 Arms of Amsterdam watermark in F-Pn, Vm7 137317 160 3.3 Hand A (F-Pn, Vm7 137323, f.5) 167 3.4 F-Pn, Vm7 137323, f.28 168 3.5 Hand B (F-Pn, Vm7 137323, f.2v) 169 3.6 Hand C (F-Pn, Vm7 137323, f.57v) 170 3.7 Hand D (F-Pn, Vm7 137323, f.64) 170 3.8 Hand E (F-Pn, Vm7 137323, f.69) 170 3.9 Hand F (F-Pn, Vm7 137323, f.72v) 171 3.10 Hand G (F-Pn, Vm7 137323, f.74) 171 3.11 Hand H (F-Pn, Vm7 137323, f.77v) 172 3.12 Hand I (F-Pn, Vm7 137323, f.83) 172 3.13 Hand J (F-Pn, Vm7 137317, f.12) 173 3.14 Hand K (F-Pn, Vm7 137317, f.72v) 173 3.15 The Selosse manuscript, p.43, courtesy of Peter Leech 176 3.16 Liber Ruber, by permission of the English College, Rome 178 3.17 D-F, Mus Hs 337, f.1 222 3.18 B-Bc, MS Litt. XY 24910, part-book II, fly-leaf 227 3.19 B-Bc, MS Litt. XY 24910, part-book I, fly-leaf (detail) 228 4.1 F-Pn, Vm7 137317, f.12 270 4.2 D-F, Mus Hs 337, f.2 275 List of Tables 3.1 A calendar of the festivities of saints to whom pieces are dedicated 165 3.2 Comparison of musical and literary hands of scribes A and I 174 3.3 Comparison of musical and literary hands of scribes B, C, D and J 175 3.4 Comparison of musical and literary hands of scribes E, F, G, H and K 177 3.5 Comparison between hand R and hand A. Detail from A-ET, Goëss MS A reproduced by permission of Albert Reyerman 211 7 List of Musical Examples 3.1 GB-Ob, MS Mus.