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The Impact of the Civil War and Interregnum on English Music, C.1640 to C.1660

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The Impact of the Civil War and Interregnum on English Music, C.1640 to C.1660 "These Sad, Distracted Tymes" The Impact of the Civil War and Interregnum on English Music, c.1640 to c.1660 by Bronwyn Irene Ellis B.A. (Hons.); P.G. Dip. Ed.; A. Mus. A. Submitted in fulfilment of the requirements of the Doctor of Philosophy degree, University of Tasmania June 2004 Statement of Originality This thesis contains no material that has been accepted for a degree or diploma by this university or any other institution except by way of background information that has been duly acknowledged in the thesis. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgement has been made in the text. 10-06-a0:74. Bronwyn Ellis Date Statement of Authority of Access This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. egAcd.n.sia_ Bronwyn Ellis Date Abstract The music of mid-seventeenth-century England, and particularly of the Civil War and Interregnum, is a period frequently overlooked or misconstrued by musicology. The powerful image of the 1640s and 1650s as two decades of artistic desolation under the harsh administration of an oppressive religious regime has impacted heavily on the historiographical perception of its music. The Civil War, Commonwealth and Protectorate undoubtedly altered aspects of English musical culture, whether through the disbanding of the royal musical establishment, restriction of the use of music in worship, or prohibition of stage plays. However, these events and influences must be seen in the context of their time rather than isolated as examples of Puritan aggression. For instance, the position of the Commonwealth government in regard to the church and stage was not without general precedent or political justification — power merely provided the opportunity to instigate long-desired reforms and necessitated the careful use of censorship. In direct contrast with the image of the Civil War and Interregnum as a time of bleak silence, these years witnessed an enthusiastic continuation of domestic music and a marked increase in musical publication. Even in the religious and theatrical settings, the composition and performance of music was a recurrent feature. The Civil War and Interregnum therefore had a varied, but not necessarily devastating effect on English music of the 1640s and 1650s. In awareness of the historiographical forces that have hitherto shaped the reception of the period, this thesis will determine the impact of "these sad, distracted tymes" on the music of mid-seventeenth-century England. iv Acknowledgements The author gratefully acknowledges the assistance given in the preparation of this thesis by the work's supervisor, Dr. Anne-Marie Forbes. Credit must also be given to Nicolaas Bester, David Cleaver and Adam Hill who kindly read all or part of the script and offered helpful suggestions. In addition, a special note of thanks must be extended to the staff of numerous libraries and archives in the United Kingdom as well as to the University of Tasmania Library and Document Delivery service for their assistance throughout the course of this project. Note on Dates and Spellings In the mid eighteenth century Britain and its colonies converted to the Gregorian calendar, removing eleven days from September 1752 in order to make the transition. Prior to this the nation had operated on the Julian calendar that, although similar in structure to the Gregorian, began the year on 1 st March with January and February being the last two months of the previous year. For instance, what in modern times would be 17th January 1643 was 17th January 1642 in the seventeenth century. To avoid confusion, all dates have been modernised unless otherwise specified. Conversely, spellings have been retained unless obscure enough to restrict clarity. 1 For a concise history of the Western calendar see Calendars through the Ages, http://www.webexibits.org/calendars, 21 S` April 2003. vi Table of Contents List of Illustrations viii List of Musical Examples ix Introduction 1 Chapter One: 18 "More War than we Expected:" A Historical Overview of Mid-Seventeenth-Century England. Chapter Two: 36 "The Architects of Time:" The Historiographical Creation of Mid-Seventeenth-Century English Music. Chapter Three: 105 "A Foule Evil! Favoured Noyse:" The Effect of War and Puritan Administration on Sacred Music, c.1640 to c.1660. Chapter Four: 176 "Repugnant to the Will of Almightie God:" Music for the Theatre, c.1640 to c.1660. Chapter Five: 235 "Fiddling at Home:" Domestic and Institutional Music, c.1640 to c.1660. Conclusion 291 Select Bibliography 303 Vi' List of Illustrations Fig. 1. Anthony van Dyck. Charles Ion Horseback. 24 Fig. 2. William Frederick Yeames. And when did you last see your father? 78 Fig. 3. John Barnard. Contents, First Book of Selected Church Musick. 134 Fig. 4. "A Declaration of the Lords and Commons Assembled in 194 Parliament, For the appeasing and quieting of all unlawful Tumults and Insurrections in the severall Counties of England, and Dominion of Wales ... Also an Ordinance of both Houses, for the Suppressing of Stage-Playes." Fig. 5. Inigo Jones. Costume design for the Masque of Blackness. 201 Fig. 6. Inigo Jones. Costume designs for Chloridia. 203-204 Fig. 7. John Playford. The English Dancing Master, or Plaine 251 and easie Rules for the Dancing of Country Dances, with the Tune to Each Dance. Title Page. Fig. 8. Jan van Belcamp. The Great Picture depicting 256 Lady Anne Clifford, Countess of Dorset, Pembroke and Montgomery. Fig. 9. Anon. William Lawes. 291 viii List of Musical Examples Ex. 1. Anonymous. Nunc dimittis from the English Psalm Book (1560). 117 Ex. 2. William Byrd. This Day Christ was Born. 126-27 Ex. 3. Thomas Tallis. Venite from The Dorian Service. 130-31 Ex. 4. Christopher Tye. I Will Exalt Thee. 135 Ex. 5. William Child. Basso continuo part of Psalm 1, 136 "Blessed is the man that hath not walked in the counsel of the ungodly." Ex. 6. Thomas Tanis. Salvator Mundi. 140 Ex. 7. Robert Stone. "The Lord's Prayer." 141 Ex. 8. Thomas Weelkes. Alleluia, I heard a Voice. 143 Ex. 9. John Amner. "I bring you tiding" from the 144 Sacred Hymnes of 3. 4. 5 and 6. Parts (1615). Ex. 10. Thomas Weelkes. 0 Lord, Grant the King a Long Life. 145 Ex. 11. Orlando Gibbons. "Fantasia for Double Organ." 147 Ex. 12. Thomas Tomkins. Holy, holy, holy Lord God of Sabaoth. 148 Ex. 13. Thomas Tomkins. See, See, the shepherds queene. 149 Ex. 14. Orlando Gibbons. Behold Thou Hast Made My Days. 156-58 Ex. 15. John Merbecke. "Nunc dimittis" from the 162 Booke of common praier noted. Ex. 16. William Lawes. "In the subtraction of my Years" 168 from Choice Psalmes. Ex. 17. Trad. Hebrew. Adoration. 172 Ex. 18. William Lawes. "Hence, ye profane" 209 from The Triumph of Peace. Ex. 19. Simon Ives. "Bulstrode Whitelocke's Coranto" 210 from The Triumph of Peace. ix Ex. 20. Matthew Locke and Christopher Gibbons. 218-19 "Stay Cupid, whither art though flying?" and "0 let the weeping virgins stow" from Cupid and Death. Ex. 21. Matthew Locke and Christopher Gibbons. 220-21 "Open bless'd Elysian Grove" from Cupid and Death. Ex. 22. Matthew Locke and Christopher Gibbons. 222-23 Second Entry: Suite of Dances from Cupid and Death. Ex. 23. Matthew Locke. "The Mask" from The Empress of Morocco. 225-26 Ex. 24. Nicholas Lanier. Hero and Leander. 228 Ex. 25. Matthew Locke and Christopher Gibbons. 230 "Fly, fly my children" from Cupid and Death. Ex. 26. William Webb. "As Life what is so Sweet." 231 Ex. 27. Anon. "Prince Rupert's March." 246 Ex. 28. John Jenkins. Pavan in B-flat major. 265-66 Ex. 29. John Ward. Fantasia No. 13. 267 Ex. 30. Thomas Lupo. Three-part Fantasia. 269 Ex. 31. Alfonso Ferrabosco II. Six-part Fantasia, "In nomine." 270 Ex. 32. William Lawes. Fantasia from the Consort Sett in C minor. 277 Ex. 33. William Lawes. Suite for Two Division Viols and Organ 280-81 in C Major. Ex. 34. William Lawes. "Country Coll." from Musick's Recreation 282 on the Lyra Viol by John Playford. Ex. 35. Jacques Gaultier. "Courante." 283 Ex. 36. Richard Dering. "The City Cries." 285 Ex. 37. Christopher Gibbons. "Corrente." 286 Introduction The music of mid-seventeenth-century England constitutes a different beauty to what is generally accepted. There are few grand gestures, memorable motives or spectacular finales, no noticeable stylistic innovations to influence the course of music history, and no famous works to attract outside attention. Instead the period stretches forth as a fairly unnotable piece of musicological geography, devoid of prominent landmarks in the form of "great composers," strong musical patronage or innovative compositional techniques. As a result of this, the years of the English Civil War and Interregnum have, in many interpretations, come to be one of the most misunderstood times in music history. Generally either minimized, harshly interpreted or completely omitted, the 1640s and 1650s have seldom been considered favourably, particularly in writings of the eighteenth, nineteenth and early twentieth centuries.' This process continues to feed off itself, gathering momentum with each passing repetition, encouragement and "reinterpretation" of the accepted norm. Compounding from the late seventeenth century onwards, the results three centuries later have been severe. The traditional perception of the period — as a time when cultural activity in any form was severely suppressed — has potentially travelled a vast distance from the musical climate that might have encapsulated Cromwellian England. Possibly to a greater extent than any other time in music history, this period has perpetually drifted amongst waves of powerful images and the sometimes damaging forces they can bring into play.
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