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THE INSTEUMENTAL MUSIC of Thomas TONKINS (1572-1 6) John Alan Irving Submit Ted in Partial Fulfilment of the Requirements for Th

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THE INSTEUMENTAL MUSIC of Thomas TONKINS (1572-1 6) John Alan Irving Submit Ted in Partial Fulfilment of the Requirements for Th THE INSTEUMENTAL MUSIC OF ThOMAS TONKINS (1572-1 6) John Alan Irving Submit ted in partial fulfilment of the requirements for the degree of Doctor of Fnilosophy in the Department of Music, University of Sheffield. November 194. THE flSTRUMENTA.L MUSIC OF THOMAS TONKINS (1572-1656) John Alan Irving STJMMAR Thomas Tomkins (1572-1656), organist of Worcester Cathedral and of the Chapel Royal, was one of the most significant English composers in the first half of the seventeenth century. His sacred and secular vocal music has become widely known through modern editions, but although his solo keyboard music has been available in print since 1955 it has received little critical attention and is seldom played. His putput for string consort in three to six polyphonic parts has fared even worse: although playing parts of some of the consort pieces have appeared, these are not readily available, and are normally based on only one contemporary manuscript source. At a'esent, therefore, our picture of Tomldns's overall achievements as a composer is incomplete, and therefore distorted, owing to the lack of a detailed consider- ation of his instrumental output. A critical study of the keyboard music, a complete edition of the consort music, collated from all existing contemporary manuscript sources, with a paleographical assessment of these sources, and an attempt to place this newly edited material in context, define, collectively, the scope of this thesis. Although many of Ibmkins's keyboard works are dated in the composer's manuscript, a strictly chronological assessment of these has not been adopted since this reveals far less of the composer t s diversity than successive treat- ment by genre (preludes, plainsong settings, fantasias, grounds, pavans, variations and miscellanea). Several general topics which do not fit comfortably into these specific categories are dealt with in Appendices following the critical and paleographical chapters. The transcriptions, with accompanying editorial notes and comment- aries, are presented in a separate volume. VOLUNE 1 JYBOAID AND CONSORT MUSIC CONN1S VOLtJNE 1: KEYBOARD AND CONSORT MUSIC Page Bibliographic Abbreviations (1) Library Sigla (iii) Source Abbreviations (iv) Preface (vi) Acknowledgements (ix) PART I: KEYBOARD MUSIC Chapter 1 Keyboard Sources 1 Chapter 2 Preludes 24 Chapter 3 Plainsong Settings 32 Chapter 4 Fantasias, Voluntaries and Verses 52 Chapter 5 Grounds and related keyboard pieces 64 Chapter 6 Pavans and Galliards 77 Chapter 7 Variations 102 Chapter 8 tBjtts: or 114 PART II: CONSORT MUSIC Chapter 9 Consort Sources: Paleograpby 118 Chapter 10 Consort Sources: Textual Criticism 161 Chapter 11 Consort Music: A Survey 171 APNDICES 192 1. Corrections to (second, revised edition) 193 2. Letter-Figure Combinations in 202 3. Chronological List of Tomkins's Keyboard Music Dated in To 212 4. Thanscription of Prelude, from Fo and FWVB 214 5. Than scription of 'Pavana Anglica Thomas Tomkins 218 Collerirt di Pietro Phillipi' from BiblIography 225 VOLUME 2: CONSORT MUSIC - TEANSCRIPTIONS AND COI'1MENTAP( Page Library Sigla (1) Source Abbreviations (ii) Editorial Notes (iii) Transcriptions 1 Textual Commentary 168 BIBLIOGRA2HIC ABBREVIATIONS TK Thomas Toirikin: Keybo,rd Music. Ed. Stephen D. Tuttle. Mu.sica Britannica, vol.5 (2nd, rev. ed. London, 1964). StevT Denis Stevens: Thomas Tinkins 1572-1656 (London, 1957; rev. 1967). BE1 7 William Byrd: Consort Music. Ed. Kenneth Lliott. The Byrd Edition, vol.17 (London, 1971). Ca].dE John Caldwefl: lish Keyboard Music Before the Nineteenth Certury (Oxford, 1973). OunnB Walker Evans Cunningham: The Keyboard Music of John BuU. Ph.D. thesis, TJniversir of California, Berkeley, 1981. DoddV Gordon Dodd (cornp.): Thematic Index of Music for Viols. First Instalment (n.p., The Viola da Gamba Society of Great Britain, 1980). EM Early English Church Music 6. Early Tudor Organ Music I: Music for the Office. Ed. John Caidwell (London, 1966). 10. Ear1 Tudor Organ Music II: Music for the Mass. Ed. Denis Stevens (London, 1969). EM Early Music FWVB The Fitzwilliaxn Virginal Book. Ed. J.A. Fuller Maitland and W. Barclay Squire. 2 vole. (Leipzig, 1899; rep. New York, 1963). GSJ Galpin Society Journal MoriP T. Morley: A Plain and Eas y Introduction to Practical Music (London, 1597). Ed. F.. Alec ifarman (New York, 1973). (References are to the reprint of 1973.) MB Musica Britannica 1. The Mulliner Book. Ed. Denia Stevens (London, 1951). 9. Jacobean Consort Musi. Ed. Thurston Dart and William Coates (London, 1955; 2nd, rev. ed. London, 1962). 14. John Bull: Kyboard Music I. Trans. and ad. John Steele and Francis Cameron, with additional material by Thurston Dart (2nd, rev, ad. London, 1967). (i) 18. Music at the Court of Henry VIII. Trans. and ed. John Stevens (2nd, rev. ed. London, 1969). 19. John Bull: Keyboard Music II. Trans. and ed Thur ston Dart (2nd, rev. ed. London, 1970). 20. Orlando Gibbons: Keyboard Music. Trans. and ed. Gerald Hendrie (2nd, rev. ed. London, 1967). 22. Consort Songs. Trans. and ed. Frillip Brett (London, 1967). 24. Giles and Richard Farnaby: Keyboard Music. Trans. and ed. Richard Marlow (London, 1965). 26. John Jenkins: Consort Music of Four Parts. Trans. and ed Andrew Ashbee (London, 1969). 27. William Byrd: Keyboard Music I. Trans. and ed. Alan Brown (2nd, rev. ed. London, 1976). 28. William Byrd: Keyboard Music II. Trans. and ed. Alan Brown (2nd, rev. ed. London, 1976). 44. Elizabethan Consort Music . Trans. arid ed. Paul Doe (London, 1979). 48. Orlando Gibbons: Consort Music. Trans. and ed. John Harper (London, 1982). MD Musica Disciplina ML Music and Letters MQ The Musical Quarterly MR The Music Review MT The Musical Times OWNB Oliver Neighbour: The Consort and Keyboard Music of William Byrd (London, 1978). P1P Proceedings of the Royal Musical Association RISM Repertoire International des Sources Musicales RMRC Royal Musical Association Research Chronicle (ii) LIBRARY SIGLA. The following RISM classifications have been adopted throughout this study: GB (Great Britain) Lbl London, British Library Lcm London, Royal College of Music Library Ob Oxford, Bodleian Library Och Oxford, Christ Church Library Y York, Minster Library BIRE (epublic of Ireland) nfl Dublin, Archbishop Marsh 1 s Library US (United States of America) NYp New York Public Library R Rochester, New York State, Eastman School of Music, Sibley Music Library S (Sweden) tlu Upp sala, TJniversitetsbiblioteket F (France) Pc Paris, Bibliothque Nationale, Conservatoire de Musique (iii) SOURCE ABBEEVIATIONS (1) Keyboard To Paris, Bib1iothqu.e Nationale, Conservatoire de Mu.sique, 143. Re's. 1122 (olini 18547) (autograph) Lb129996 London, British Library, MS. Add. 29996 (autograph) Dl New York, Public Library, MS. Drexel 5611 New York, Public Library, MS. Drexel 5612 Fo London, British Library, 143. EM 24 d.3 (Will Forstert a Virginal Book) F14VB Cambridge, Fltzwilliam Musen, MS. Music 32.G.29 (The Fitzwihiam Virginal Book: see list of Bibliographic Abbreviations, p.(i)). 0b93 Oxford, Bodleian Library, MS. Mus. Sch. o.93 Ochlll3 Oxford, Christ Church Library, MS. Mus. 1113 Up Uppsala, Universitetabiblioteket, MS. Instr. Mus. i hs 408 (Ancireas D1ben Tablature) (ii) Consort Printed Source: SOp Thomas Simpson: Opusculum Neuer Pavanen/Galliarden unnd/Volten so zuvor niena]. in Truck/Kommen/Auff allerhand Musikalischen In! strumenten sonderlich Violen lieblich zu/gebrauchen (Frankfurt - am-Main, 1610) Manuscript Sources: ]n1 Dublin, Archbishop Marsh' a Library, MS.Z3.4 (1-6) ]n7 Dublin, Archbishop Marsht a Library, MS.Z3.4 (7-12) Lb117792 London, British Library, MS. Add. 17792-6 Lb130826 London, British Library, MS. Add. 30826-8 Lbl.3665 London, British Library, MS. Eg. 3665 Lcin2039 London, Royal College of Music Library, MS. 2039 (iv) 0b64 Oxford, Bodleian Library, MS. Mus. Sch. c. 64-9 0b245 Oxford, Bodlelan Library, MS. Mus. Sch. d. 245-7 0b415 Oxford, Bodleian Library, MS. Mus. Sch. e. 41 5- Och1O13 Oxford, Christ Church Library, MS. Mus. 1O1-2O R Bochester, New York State, Eastman School of Music, Sibley Music Library, 'Jo: Wythie his Booke' Y York, The Minster Library, MS. M.3/1-4(S) (v) PBEFACE Thomas Toinkins (1572-1656) was the most distinguished member of a family which produced, according to Charles Burney, able musicians, during the sixteenth and seventeenth centuries, than any other which England can boast. * 1 lbmkins is probably most famous for his sacred vocal music, especially the anthem When David Heard. This piece, still performed widely today, was apparently popular in the composer's lifetime as, in 1636, Charles Butler mentions its performance at the Oxford Music School: 'The melodious harmony whereof, .... whether I should more admire the sweet well- governed voices, (with consonant Instruments) of the Singers; or the exquisite Invention, wit, and Art of the Composer, it was hard to determine.' 2 Much of Tomkins' $ music for the Anglican service was brought together in the posthumous collection Musica Deo Sacra (London, 1668), in all probability edited by the composer' a son, Nathaniel. At the time of his death Tomkins was aged 84, and his long and productive life had straddled the reigns of three monarchs (two of wbo1r he served at the Chapel floyal) and the interregnum. The political and religious upheavals of the Civil War and its outcome must have been a profound blow to the composer entering his seventies, and yet his temperament appears to have been outwardly as unshaken by these events as his musical sensibilities were unmoved by the modern styles practised by his younger contemporaries. To the end lbmkins the composer held fast to the values of the generation of Byrd (his teacher at some stage) and Gibbons. An account of Tomldns'a life forms a large part of Denis Stevens's monograph, Thomas Tomkins 1572-165 (London, 1957), in which much documentary material relating to the composer's musical and social activities in Worcester (where he served as Cathedral organist from 15% until his death) is adduced. Stevens also includes an overall survey of the music which leaves the reader (vi) in no doubt that in 1956 (the tercentenary of Tomkins' S death) the composer's fame rested almost exclusively on the vocal (especially sacred) works.
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