13

WilliamLawes's Lyra Viol Music:Some Observations

Frank Traficante

The Nation magazine for 15 May of 1995 bore a front-page headline designatingthat year as the 50th 'Anniversaryof Almost Everything.' To supportthe assertionreference was madeto a long list of eventssuch as 'the first useof the atom bomb, ... the signingof the U.N. charter,... the birth of U.S.-Soviettensions' and so on.' For the participantsand guestsof the William LawesFestival Conference 1995 was the 3501hanniversary of one particularsad event. Although personsattending the Festivaldid not gather togetherfor the purposeof discussingpolitics, it was things like politics, nationalism,religion, heroism, and bad luck that causedthe demise of William Lawesin 1645,thus insuringthat, accordingto the peculiarlaw of decimal significanceby which we organizeour lives, 1995 would be the year for taking special notice of his great contribution to our cultural heritage. My task is to discussthat small cornerof Lawes'screative output that constituteshis music for lyra viol.t Before tuming to the music as such, however,I would like to focus,briefly, on a curiousnotational anomaly. A common element of normal staff notation from earliest times until the eighteenthcentury is the custosor direct.'' It is usuallyfound in the form of a flourish at the end of a staff and positioned at the line or spaceon which the first noteof the next staff appears.Itserves as a forewamingof the pitch of that note(though not its duration)before the player'seye has moved from the end of the previousstaff.It is especiallyuseful when sightreading. If the forthcomingnote is to be inflectedthe direct can be accompanied by a sharpor flat signas needed.' In caseswhere the new staff beginswith a changeof clef the direct may simply be positionedaccording to the clef in effect at the end of the old staff. Alternatively, it may be accompaniedby a forewarningof the clef change.Occasionally, these two options might be combinedin a double direct-one basedon the prevailing clef, the other showingthe new clef.t In most instances,however, the direct alone will normally provide a clear indicationof the forthcomingpitch when used in staff notation. On the other hand,it could neverbe relied upon to do that in tablature. In this notationalsystem the direct alone will indicate only the string on 341 Frank Tra/icante ll/illiam Lav'es's Lyra Vio which the first note of the next staff is to be played.To indicatethe actual Fig.13.1. EIRE-Dm, MS 23.5.13, f.5' pitch it would always have to be combined with the tablature letter. when Lawes,Corant (defhO. End of staff1; one considersthat frequently the new staff will begin not with a single note but with a harmony of two, three, or more notes it is no surprise that the direct doesnot constitutea commonelement of tablature.It is all the more noteworthy,then, to find this sign cropping up in tablaturesources of Lawes's music including some consideredto be in the composer,sown hand. Two, from the Dublin Marsh lablature (not in Lawes's hand) are Figuresl3.l and13.2. One could speculatethat Fig. l3.l representsan attemptto clarifu the distraction of the crossed out measure. There is no corresponding explanationfor Fig. 13.2. Unlike these two isolated occurrencesin the Marsh tablaturethe direct is ubiquitous in the presumedautograph Harvard Fig.13.2. EIRE-Dm. MS 23.5.13. f.5 Lawes manuscriptMusic 70. The signsoccur in the sectioncontaining one Lawes.Corunt (defhfl. End of staff2 part of works for three lyra viols.' The directs in this manuscriptalmost invariablydo mark a string on which a note is to be playedat the beginning of the next staff. Figs. 13.3aand 3b, however,show caseswhere this is not so.

Numerous other directs not quite so unfathomable as these are perplexing,nonetheless, because they refer to a stringthat will provideonly one note of a multiple-note harmonic formation on the next staff. Thirty- three directs in this manuscriptlead to a two-note interval. Two of them are ambiguous.'Ofthe remainingthirty-one, fully twenty-fivepoint to the string of the lower note of the interval while only six retbr to the upper as exemplifiedin Figures13.4a and 4b respectively. Fig. 13.3(a).US-CA. ms Mus 70. no. Finally, thereare singledirects leading to chordsof threeor more notes. Lawes.Sarab't (fhfh0. Endof staff2: Figures13.5a, 5b, and 5c show,respectively, a directreferring to the middle noteofa three-notechord, one referring to the secondfrom the top ofa four- note chord, and one referring to the fourth note from the top of a five-note .rl','rI chord. lt is hard to see how these directs could convey any useful .11 informationto the performereven were one temptedto seein the especially lt elaborate : flourishof Fig. 13.5ca forewarningof the chordto come.'o I Before leavingthis topic it is worth noting that tablaturedirects occur, also, in the Bodleian Library autographLawes manuscript,Music School : MS 8.2, in connectionwith the Alman andthe secondof the two Corantsall three of which are for lute duet. There are six directs in all on this page,and they reflect the same notational contexts already described.Three refer to stringson which single notesare to be playedat the beginningof the next staff. Figure 13.6ashows one that refers to the lower note of a two-note interval(on non-adjacentstrings) and one that refers to the third highest 342 tficante William Lav'es's Lyra Viol Music: Some Obsemations o be played.To indicate the actual Fig.13.1. EIRE-Dm, MS 23.5.13,f.59 (reversed). VdGS lndex427, nedwith the tablatureletter. When Lawes,Corant (deftrf . Endof staffl; beginningof staff2. rff will begin not with a single note ore notes it is no surprisethat the mentof tablature.It is all the more rpping up in tablature sources of lred to be in the composer'sown blature (not in Lawes's hand) are rcpresentsan attempt to clarifu the iure. There is no corresponding e two isolated occurrencesin the in the presumedautograph Harvard Fig.13.2. EIRE-Dm. MS 23.5.13,f.59 (reversed). VdGS Index 428. occurin the sectioncontaining one Lawes.Corant (defh0. End of staff2; beginningof staff3. e directs in this manuscript almost rote is to be playedat the beginning wever,show caseswhere this is not nt aat' I e so unfathomable as these are ;l5;E----I- fer to a string that will provide only =---_[--;-^-:f lormationon the next staff. Thirty- - Ltwo-note interval. Two of them are ^-f , fully twenty-fivepoint to the string ile only six refer to the uPper as rcctively. Fig.13.3(a). US-CA. ms Mus70. no.8. f.l5[9?].VdGS Index 569. threeor more notes. Lngto chordsof Lawes.Sarabd (fhfhf) Endof staff2; beginningof staff3. vely, a directrefening to the middle to the secondfrom the toP of a four- rth note from the toP of a five-note directs could convey any useful J.Jl one temptedto seein the especially l)t A-a rrningof thechord to (l.-+ "o...'o -rl_-_-_.- 1 noting that tablaturedirects occur, h Lawes manuscript,Music School andthe secondof the two Corantsall re six directsin all on this page,and rts alreadydescribed. Three refer to playedat the beginningofthe next ers to the lower note of a two-note rne that refers to the third highest .)+J t Frank Traficante Ilillian Lawes's

Fig.13.3(b). US-CA, ms Mus 70, f.l8v[2v?]. VdGS Index 521, Fig.13.5(a). US-CA, ms Mus 70 Lawes,Pouen (fedfh). End of staff2; beginningof staff3. Lawes,Pauen (fhfh|. Endof sta I . t\ I a^ .l a' a 5-/ o4 --4 : -+ :-:a-

Fig.13.4(a). US-CA, ms Mus 70,no. l, f.l1v[5v?].VdcS Index563. Fig.13.5(b). US-CA, ms Mus Aire (fhfhf). Lawes.Pauen (fhfh|. End of staff I ; beginningof staff 2. Lawes, End of staff I

Fig. l3.a(b).US-CA, ms Mus 70,f.17| 1?1.VdGS Index 443, Lawes. Fig.13.5(c). US-CA, ms Mus (fhfh0. Corant (defhfl. End of staff I ; beginningof staff 2. Humour Endof staff3; I

344 alicante ll/illian Lawes's Lyra Viol Music: Some Obsemations

'|2v?1.VdcS Index521, Fig. 13.5(a).US-CA, ms Mus 70, no. l, f.l lv[5v?]. VdGS Index563, eginningof staff3. Lawes,Pauen (fhfh|. End of staff 2; beginningof staff 3. I I a

-* = "! ,a- :

. f.l lv[5v?].VdGS Index 563. Fig.13.5(b). US-CA, ms Mus 70, no. 11, f.l6v[l0v?]. VdGS Index 572, eginningof staff2. Lawes,Aire (fhfhf).End of staff7; beginningof staff8.

I l?1.VdGS Index 443. Lawes. Fig.13.5(c). US-CA, ms Mus 70,no.7.f.l4v[8v?]. VdGS Index 568, Lawes, rs of staff2. Humour(fhfhf). End of staff 3; beginningof staff 4. /-Ilr

345 Frank Tra/icante iltilliam Lawes'sLyrc

string (or course)when, in fact, it I Fig. 13.6(a).cB-Ob, MS note is to be played.Finally, Figu Mus. I Sch.B.2, p.[86], second-lutepart, showsa direct th Lawes, Alman (for 2 lutes: chord (the two lower of which areo ddeff/ccbcc).End ofstaves 3 and4: The fact that all but two of including the most incomprehensib in the handof William Lawesmake what this phenomenonsignifies mu

The number of lyra viol wor completeform is not large."It incl the simplest brief solo dancepier seventeenthcentury, after the cor beginningofstaves 5 and6. fantaziasthat he and otherswere co There are 44 piecesin all-38 sok viols. Eight tuningsare employed el The complete pieces for a tt movement groupings-F antaziaw Fantaziawith a piecein dupleme rank with the bestof Lawes'swork belong to an all too sparseearly works by Alfonso FerraboscoII, Jr pity thereare no morepieces like t quality. At the sametime, hower Ferrabosco,Coprario, and Taylor fantaziasfor three lyra viols rather a sextet,since each lyra viol player leasttwo consortlines). Fig.13.6(b). GB-Ob, MS Mus.Sch. B.2. p.[86], Lawes. Corant-[2] (for 2 lutes:ddeff/ccbcc). End ofstaff2; beginning ofstaff4. Music for threeto six consorti strandin the polyphonicweb, does three lyra viols and this, of course music for the lyra viol may be sai literally presentedfor the mostpart the motivation for suchmusic. The music as well. But thatinstrument, is betterable to producea more lir find a body of music for an ensem lyra viols. It seemsreasonable to 346 icanle William Lawes's Lvra Viol Music: Some Observations

string (or course)when, in fact, it is the secondhighest on which the next Fig.13.6(a). GB-Ob, MS note is to be played.Finally. Figure 13.6b,which is limited to the lower, Mus.Sch. B.2, p.[86], second-lutepart, showsa direct that refersto the top note of a three-note Lawes,Alman (for 2 lutes: chord(the two lower of which areon non-adjacentstrings). ddeff/ccbcc).End ofstaves3 and4; The fact that all but two of these directs in tablature manuscripts, including the most incomprehensibleones, occur in sourcesassumed to be in the handof William Lawesmakes them noteworthy.An understandingof what this phenomenonsignifies must await furtherstudy.

The number of lyra viol works by William Lawes that survive in completeform is not large." It includesa rangeof musicalsubstance from the simplest brief solo dance pieces characteristicof the mid- and later seventeenthcentury, after the composer'sdeath, to the finest ensemble beginningofstaves 5 and6. fantaziasthat he and otherswere composingduring the century's early years. There are 44 piecesin all-38 solos and six for an ensembleof three lyra viols.Eight tunings are employed enabling works in six keys.'' The complete pieces for a trio of lyra viols comprise three two- movement groupings-Fantazia with Saraband.Paven with Almaine, and Fantaziawith a piecein duplemeter titled'Humour'. In my opinionthey rank with the bestof Lawes'sworks forthe more usualconsort of viols and belong to an all too sparseearly seventeenth-centurygenre that includes works by Alfonso FerraboscoII, John Coprario,and Robert -faylor. It is a pity thereare no more pieceslike these.The few that exist are of excellent quality. At the same time, however. one might wonder why Lawes (or Ferrabosco,Coprario, and Taylor for that matter) would write polyphonic fantaziasfor three lyra viols rather than for a trio of consort instruments(or a sextet,since each lyra viol playercould be expectedto be ableto sustainat leasttwo consortlines). p.[86],Lawes. Corant-[2J $or2 ingof staff4. Music for threeto six consortinstruments. each responsible for its own strandin the polyphonicweb. doesnot soundthe sameas consortmusic for three lyra viols and this, of course,is just the point. Contrapuntallines in music for the lyra viol may be said to be expressivelyimplied rather than literally presentedfor the most part.A growing tastefor this soundprovided the motivationfor suchmusic. These comments apply to the textureof lute musicas well. But that instrument,unhindered by the limitationsof the bow, is betterable to producea more literal polyphonictexture. And we do not find a body of music for an ensembleof three lutes comparableto that for lyra viols. It seemsreasonable to say, therefore,that early seventeenth-

347 Frank Traficante Willian Lawes'sLr,

Ex.13.2. John Playford,Musick Ex.13.1. GB-Och, VdGS Mus.725, f. lv;726, f. [0]v, 727,f[O)v, bars 1_7. Index 421, William Lawes, vdGS Index 567,wiiliam Lawes:opening of Fintasie.nritiorthreetyra viols.

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Lyra Viol 3 (hftJ) centuryEnglish music for threelyr of the fascinationwith so-calledll a part of later French keyboard Renaissancecounterpoint in favot of the baroque.A particularlyattra by Lawes from the tiny six-piece thatremains to us(Ex.l3.l ). In sharpcontrast to the hieh at the pieces for three lyras, ma*nyo 13.2).It is customaryto acceptthe 348 Traficante lVillian Lawes's Lyra Viol Music; Some Obsemations

Ex. l3.2.John Playford,Musiclc Recreation(165[5]), 18, bars l-17. VdGS Index 421, William Lawes.Countrv Coll. v:726, f. [0]v, 727, f[O]v, bars 1-7. openingof Fantasiefirsl for three lyra

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centuryEnglish music for threelyra viols representsa specialforeshadowing of the fascinationwith so-calledstyle brise that would becomeso important a part of later French keyboard music. It reflects a softening of strict Renaissancecounterpoint in favour of the more vertical harmonictextures of the baroque.A particularlyattractive example is the first of two fantasies by Lawes from the tiny six-piecetreasure for three lyra viols, which is all thatremains to us(Ex.l3.l). In sharpcontrast to the high aestheticlevel and technicalcomplexity of the piecesfor three lyras, many of those for one alone are simplistic (Ex. 13.2).It is customaryto acceptthese light piecesas bagatellestossed off by 349 Frank Traficante llilliam Lawes'sLYra a composerto satisff a common taste. It is not clear, however, that a widespreadtaste fbr such pieces had been firmly establishedbefore the death of William Lawes. It may be that pieces(or arrangements)of such minimal substancedo not reflecthis originalconceptions. The printedbooks and perhapsall the manuscriptsthat preserveLawes's solo lyra viol music postdatehis death.'' Even if one or two of the manuscriptswere written during Lawes'slifetime it was not he who wrote them.What can we assume to be the relationshipbetween the existing form of thesepieces and the composer'soriginal conception?To understandwhy this questionarises we must understandthe natureof lvra viol musicin seneral.

Many settings for lyra viol are affangementsof pieces originally conceived for another medium. As such they may reflect compromises -r' O rl rar (, (..l dictatedby limitationsof the viol when calledupon, for instance,to sustain E ..1 g,q ci the multiple voices of a polyphoniccomposition. They will be more free- CE \J voiced than continuouslycontrapuntal, roughly in the style of figured bass # .: o \n-EF- OO. realizations.In additionto alterationsthat might resultfrom the necessityof r-'A- .i()c translatingfrom anothermedium a settingmay include intentionalchanges -> o JUF of a more fundamental nature that renders one version of a piece ra)O: incompatiblewith another.Frangois-Pierre Goy has describedtwo kinds of = E j )-o x concordances,distinguishing 'true concordances[that share] the same ^eFb melody, bass[,] and harmony, regardlessof tuning, key[.] or instrument oo.gA -.= [from] cognates[,which are] differentsettings of the sametune."o The solo E itd lyra viol setting(titled 'A maske' and in the presumedkey of d-minor''; of 7i 3t the aire from Lawes's five-part consort-setin a-minor may serve as an -:0)oDs I =r+C exampleof a cognate.The lyra viol musicdoes not coincidewith the consort 4 \rCJ o.dP version.The first strain,when comparedto the consortversion, coincides 4;s for the first threebars. but beginsto divergeat the fourth. By the fifth bar it .ArY(q

l) sd has becomeincompatible and remainsso until the final cadencewhen it ; F? OSta) coincidesagain (Ex. 13.3).The secondstrain diverges even more radically e \;ro to the extent that the lvra viol has onlv eleven bars to the consort's 'r> :w! F E seventeen. >rci i lF o L 5l X.i Even lyra viol settings that are true concordancescan differ in '5€,<^ push aestheticallysignificant ways from one another.Without wishing to the d; ,g .^ analogytoo far, one can againview theseas sharingsomewhat the natureof 1 -io-riH.)ie figured bassrealizations, in that a lyra viol setting representsbut one of X .V C) J tJd> many possibilitiesall potentiallydifferent in variousdetails. The differences a ----'- are likely to be greatestbetween settings that do not use the sametuning. b Examples 13.4 and 13.5 show the first four bars of John Dowland's Lachrimae Antiquae as they appearin two lyra viol arrangementsusing 5 3s0 'aficante William Lau,es'sLyra L'iol Music; Some Obsen,arions e. It is not clear, however, that a been fimrly establishedbefore the tt pieces(or arrangements)of such ;inalconceptions. The printedbooks :serveLawes's solo lyra viol music ro of the manuscriptswere written ro wrotethem. What can we assume sting form of thesepieces and the lerstandwhy this questionarises we tusicin general.

arrangementsof pieces originally rch they may reflect compromises calledupon, for instance,to sustain rn 06l Fcl mposition.They will be more free- -L-YA !.'d roughlyin the style of figured bass .Ef- tn at might resultfrom the necessityof r'6 Oo. - ng may includeintentional changes ;b;*>; rendersone version piece of a lr)ox :rreGoy hasdescribed two kinds of av_ ca ncordancesfthat share] the same ).? ; crvE ;ss of tuning, key[,] or instrument oo {iF. :ttingsof the sametune.''o The solo tr rrA r thepresumed key of d-minor'';oI = 4i -:o rt-set in a-minor may serve as an p2s l ic doesnot coincidewith the consort >\€ .,i 0) :d to the consortversion, coincides >;E^*:i. ergeat the fourth.By the fifth bar it so until the final F cadencewhen it .'Eo, straindiverges even more radically Eg") ?. rnly eleven bars to the consort's --> F >r.o j - t- o.r' -l L true concordancescan differ in X.; ttr DI a€ I nother.Without wishing s -l to pushthe ..i ,rr e as sharingsomewhat the natureof 'E viol settingrepresents but one of j rt in variousdetails. The differences frsg Jsthat do not use the sametuning. .: rst four bars of John Dowland's E two lyra viol arrangements using ! E 3sl Frank Traficante l|/illiam Lawes'sLyra I/

Ex.13.4. GB-Mp, Ms BR832Vu 51,pp. 18-19,bars l-5. VdGSIndex 8x.13.6.GB-Lbl, Add. MS 59869,f.8 I [a],John Dowland, Lachrimae Antiquae. Lawes,Almaine. lh .t' a' J .h),1)) ) J ,h,il J ),bJ,b

Ex.13.5. EIRE-DIc, MS D.1.21,pp.42-43, bars 1-5. VdGS Index 1[b]. Ex. 13.7.EIRE-Dm, 23.5.13, ff. 61 John Dowland.Lachrimae Antiquae. Index430[b], Lawes, Almaine.

lh Il" rlh r h rhhr d'a' d' a' a a'. a' a a a"a'a

different tunings.Settings requiring the sametuning can exhibit interesting circumstance.Examples 13.6 and I variationsas well. A typical problem occurswhen a bassnote and a melody two settings using the sametuning. note,which are intendedto be played simultaneously,occur on non-adjacent the beat andthe melodyis delayed, strings. Since this is not possible with a bowed string instrument,the 13.7,where the melodyis on the bt composer/arrangermust decide whether the bass or the melody will be than delayed. This is not surprisir playedon the beat.A piece by Lawesprovides two solutionsto this common continuo when the basswas expecl 352 lrafcante llilliam Lawes's Lyra Viol Music: Some Observations

p. 18-19,bars l-5. VdGS Index Ex.13.6.GB-Lbl, Add. MS 59869,f.8lv, bars4-7. VdGS Index 430[a], e. Lawes,Almaine.

.b

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,-43,bars l-5. VdGS Index l[b], Ex. 13.7.EIRE-Dm, 23.5.13, ff. 6l-60v (reversed),bars 4-7. VdGS Index430[b], Lawes,Almaine.

e sametuning can exhibit interesting circumstance.Examples 13.6 and 13.7 show bars 4-7 of an almaine from ccurswhen a bassnote and a melody two settingsusing the sametuning. In bar five of example 6 the bass is on imultaneously,occur on non-adjacent the beat and the melody is delayed,while at the analogousplace in example ,ith a bowed string instrument, the 13.7,where the melody is on the beat,the basshas beenanticipated rather rer the bassor the melody will be than delayed. This is not surprising in an age dominated by the basso rovidestwo solutionsto this common continuo when the bass was expectedto provide the context in which the

2 J)J Frank Traficante ll illiam Lawes'sLYra I

functionsof the uppernotes were understood.It correspondsto the rule that survive only in non-autographand pc arpeggiationis normally done from the bottom up.'" As can be seenin the But this is not to saYanYthing o1 examplesthe solutionsto the problemof non-adjacentbass and treblenotes forced to see the Past as through a havea ripple effect that lastsfor two barsafter which the versionscoincide displaying a few disconnectedPie again. True concordancescan exhibit numerouspatches like this not all recognizethe inadequacyofthe evid' problem, arisingfrom the needto solvethe samemusical of course.'' that we have so little to go on makes These commentshave been intendedto raise the point that lyra viol settingsof a given piecequite naturallydiffer from eachother sometimesin small ways and sonretimesin more significant identity-definingways. Touchingagain upon the simplicity of the solosand the natureof authorship For all the beautYof the lYravi' we note that such pieces were sometimesused as vehicles for division that are most characteristicof the lyr playing. Perhapsthe seventeenth-centuryproclivity for divisions partially us persuasivelythat it was the soli explains the simplicity that characterizessome of Lawes's lyra viol solo sufficiency of the lYra viol that tl works. The piecesthat make up this body of music are not all alike, and it sufficiency similar to, but bY the t would be unwiseto try to imposea uniform view of their variousstyles. But preferred over, that of the 'most,w I would like to suggestthat someof them may be unelaboratebecause that lute,' as ThomasSalmon Put it.-' P makes them all the more suitable as vehicles for the composition of SamuelPepys, too, Providesfascin divisions.'t lyra viol playing in the life of an an /te v+rote:'So home and vrote letters to bed.' A somewhatlonger entry occ An exampleof the inform"t ;", l" *n,.n some lyra viol arrangemems So to mY office. And bY and bY hor came into being is provided by SamuelPepys. The following entry in his dancing;and so I staYedin mY chambe diary is datedJanuary 18,1663164: try a little upon the LYra viall, mY ha again.So bY and bYto dinner'-- I found Mr. Mallard. and had from him a common Tune set by my desireto the Lyra Vyall. whichgoes most admirably.. Roger North wrote that his brotherI his lyraviol, An entry five dayslater (January23,1663164) shows why somepieces were himself with touching wroteI neverwritten down. his voice thereuport."'North With respectto amusement,and releif [Mr. Mallard] playedsome very fine things of his own, but I was afearedto enter much,or too litle imployment,nothing too far in their commendationfor fear he shouldoffer to copy them for me out. and applicationto Musick' lt is a medecin so I be lorcedto giveor lendhim something.t" both for Pleasureand cure.-' If the piece that Mr. Mallard did write out for Samuel Pepys were a Sir PeterLeicester has left composition by William Lawes, for instance,what we know about the Finally, fancYto which sr nature of lyra viol settingswould probably lead a modern-dayeditor to anthropomorPhic survivingmanuscript of lyra v provide an attribution something like Lawes/Mallard. The simplicity only pieces bY William Lawes' S characterizingmany of the solo pieces may reflect changesof taste that solo with his lYraviol in mind v Lawes did not live long enough to know. Can we assumethat had he playing He sPeakswarmlY to th' survivedthe siegeof Chesterthis sort of music would exist in autograph His Viole'. creation of musical offsPring as n sources?Without underestimatingthese works as valuable evidence of )(\ Lawes'sinterest in lyra viol music,we must acceptconsiderable uncertainty muslc stops. aboutthe extentto which his original conceptionsremain in suchpieces as

354 rraficante Ililliam Lawes'sLyra Viol Music: Some Obsen,ations rstood.It conespondsto the rule that surviveonly in non-autographand posthumous sources. 3 bottomup.'u As can be seenin the But ofnon-adjacentbass and treblenotes this is not to say any.thingof which historians are unaware.we are forced arsafter which the versionscoincide to seethe past as through a telescopewith a nanow field of view displaying a few disconnectedpieces numerouspatches like this not all of a very large puzzle. yet, to recognizethe musicalproblem, of course.'t inadequacyofthe evidenceis not to disdainit. The realization that we haveso little to go on makesthat little more.not less.valuable. led to raise the point that lyra viol differ from eachother sometimesin significantidentity-defining ways. he solosand the natureofauthorshio For all the beautyof the lyra viol ensemblepieces it is the solo pieces timesused as vehicles for division that are most characteristicof the lyra way tradition.writers of the time tell rry proclivity for divisions partially us persuasivelythat it was the solitary playing made possibleby the self zessome of Lawes's lyra viol solo sufficiency of the lyra viol that they found so attractive. It was a self ily of musicare not all alike, and it sufficiencysimilar to, but by the secondhalf of the seventeenthcentury brm view of their variousstyles. But preferred over, that of the 'most worthily admired, but too soft and silent em may be unelaboratebecause that ,lone lute,' as ThomasSalmon put it.t' playford speaksof the lyra viol,.t' s vehiclesfor the composition of samuelPepys. too. providcslascinating grimpses into the role tf solitary lyra viol playing in the life of an amateurmusician . on 17 November1660 * he wrote: 'So homeand wrote lettersby the post.Then to my lyra viall. and to bed.' A somewhatlonger entry occurs for 25 May 1663where he wrote: . which somelyra viol arrangements So :l Pepys.The following entry in his to my office. And by and by home, where my wife and her Maister were dancing;and so I stayedin my chambertill they had done and set down myself to try a little upon the Lyra viall, my hand being almost out, but easily brought to commonTune set by my desireto the again.So by andby to dinner.-' RogerNorth wrote that his brotherFrancis 'in his chamberused ... to divert 63164)shows why somepieces were himself with touchinghis lyra viol, lute fashionupon his knee,and essaying his voicethereupon."'North wrote furtherthat: ; ofhis own, but I was afearedto enter With respectto amusement,and releif of an active mind distressedeither with too ogld offer to copy themfor me out, and much,or too litle imployment,nothing under the sun hath that vertue,as a sollitary applicationto Musick. lt is a medecinewithout any nauseaor bitter, and is taken both lor pleasureand cure.tt 'ite out for Samuel pepys were a nstance,what we know about the Finally, Sir PeterLeicester has left us a touchingexample of the flights of bably lead a modern-dayeditor to anthropomorphicfancy to which so much solitary playing could lead. His .e Lawes/Mallard.The simplicity only survivingmanuscript of lyra viol tablatureis a uniquesource for three ; may reflect changesof taste that solo pieces by william Lawes. Sir peter surely must have had solitary now. Can we assumethat had he playingwith his lyra viol in mind when he wrote a shortsonnet entitled .To of musicwould exist in autograph His Viole'. He speakswarmly to the instrumentas his belovedpartner in the ;e works as valuable evidence of creationof musical offspring as melodieswhose brief lives last until 26 the lustaccept considerable uncertainty musrcstops. lnceptionsremain in such piecesas

355 Frank Tralicante llilliam Lawes'sLyra V,

TO HIS VIOLE Notes Come SweeteCompanion, Solace of my Life, Asswagerof my Cares,another Wife; l. TheNation (May 15,1995),658. Let us retireinto someshadv place- 2. Scholarsare not in unanimousagreement ! wherewith my Circlingethighes imay embrace I employ this term in the broadestsense to tablaturenotation. Some writers prefer a mor and aptly huggethee, till thy tremblinge stringe article: 'Lyra Viol Music? A SemanticPuzzl causethe sweetefriskind ayre to dance& singe English Consort Music (Oxford, 1996),325-a Whiles I bestridethy belly, SweetestMate, to music in tablaturethat requiresa variantt It is expectedwe shouldpropagate: tendenciesis neithermore accuratehistoricall The numerousissue of thy pleasingemirth 3. ChristopherSimpson called it a 'Directo Reprinted Are all Abortives,perish in the Birth. from the SecondEdition of I 667, e' oh I could wish the Sportesof all our leasure 4. For examplesof the direct with a shaq partbook,p. 3, first staffand passim.For an might like the Spheresmove in Eternallpleasure. MS Mus. Sch.C.88, 'base'partbook, f.28, thi Emblemeof Heaven!fit for the feastsof Jove; 5. For examplesof thesethree options see: where's nothingeelse but harmonyand Love.,' partbook, f.22v, first staff; 2) GB-Ob, MS I staff; and 3) GB-Ob, MS Mus. Sch.C.88, 'bar 6. 'VdCS lndex 427, Lawes' refersto Lawt Society Thematic Index of btusic for Viols, r The code (deftf) identifies the lyra viol described inthe Index. 7. All threeparts ofsix ofthe piecesare founr 8. Sincethe directin Fig. 13.3aoccurs at the have been intended to refer back to the b repetition.The strainbegins, however, with r direct, which refersto the third string,could I to Figs.13.5a-c below. 9. Of thesetwo ambiguousdirects one point beginningof the next stafTwhilethe otheris t 10.See note 8 abovereferring to Fig.l3.3a.I to the beginningof the strainit wouldpoint t< I l. The ffagmentarypieces include 52 for survive, and one part ofa piecethat may be viol with other instrumentsare known to referencesto such. A catalogueby Henry P 'Mr. Law,esf'slConsort for 2 Lyra's, a Vi Perhapsthese are the sameconsofts enterel which the partbookfor the secondlyra viol part'. See F. Traficante,'Music for Lyra Vl 79\,20-21.It is curiousthat while both Lawe pieces for mixed consortwith lyra viol an< Jenkinsand only piecesfor threelyra viols b. 12. These specific numbersremain tentativt informationis uncovered. 13.A. Ashbee,'lnstrumental Music fiom the the Parliaments',ML 58 (1977),56, 58, su 3s6 : ficante llilliam Lawes's Lvra Viol Music: Some Observations

OLE Notes Solaceof my Life, , l. TheNation (May 15, 1995),658. i, anotherWife; 2. Scholarsare not in unanimousagreement with regardto the definition of lyra viol music. Leshady Place, I employ this term in the broadestsense to signifo any music for viol that is written in ighesI may embrace tablaturenotation. Some writers prefer a more specializedand restrictiveusage. In a recent rytremblinge stringe article: 'Lyra Viol Music? A SemanticPuzzle', in John Jenkins and His Time: Studiesin y'reto dance& singe English ConsortMusic (Oxford, 1996),325-351,1 have tried to show that limiting the term that requiresa variant tuning and that exhibits polyphonicor chordal ly, SweetestMate, to music in tablature tendenciesis neithermore accuratehistorically nor necessarilymore usefulin discourse. uld propagate: 3. ChristopherSimpson called it a 'Director' in his Compendiumof Practical Music ..- ry pleasingemirth Reprintedfrom the SecondEdition of I 667, ed. P. J' Lord (Oxford, 1970), 12' ish in theBirth. 4. For examplesof the direct with a sharpsee GB-Ob, MS Mus. Sch. C.84, 'vyolin' ssof all our leasure partbook,p. 3, first staff and passim.For an exampleof the direct with a flat see GB-Ob' e in Etemallpleasure. MS Mus. Sch.C.88, 'base' partbook,f.28, third staff. lr thefeasts ofJove; 5. For examplesof thesethree options see: l) GB-Ob, MS Mus. Sch.C.85,'base vyole' harmonyand Love." partbook, f.22v, first staff; 2) GB-Ob, MS Mus. Sch. C.88, 'base' partbook, f.23v, fifth staff;and 3) GB-Ob, MS Mus. Sch.C.88, 'base' partbook,f. l9v, third staff. 6. 'VdGS lndex 427, Lawes' refers to Lawes piece number 427 in the Viola da Gamba Society Thematic lndex of Music for I'iols, 6th instalmenf, compiled by G. Dodd (1992). The code (deftfl identifies the lyra viol tuning according to a common convention describedinthe lndex. 7. Af f threeparts of six of the piecesare found in GB-Och, Mus.725-727. 8. Sincethe direct in Fig. 13.3aoccurs at the end of a strain,one might surmisethat it could have been intended to refer back to the beginning of the strain in preparationfor its repetition.The strainbegins, however, with a single note on the secondstring to which the direct,which refersto the third string,could haveno relevance.See note l0 below referring to Figs.13.5a-c below. 9. Of thesetwo ambiguousdirects one points to a string on which no note is played at the beginningof thenext staff while the other is unclearas to whichstring it points. l0.Seenote8aboverefeningtoFig.l3.3a. lfthedirectinFig. l3.5cwereintendedtorefer to the beginningof the strainit would point to the middle note of a three-notechord. ll. The fragmentarypieces include 52 for 3 lyra viols, for which only one or two parts survive,and one part of a piecethat may be a lyra viol duet. No piecesby Lawes for lyra viol with other instrumentsare known to exist, although there are tantalizing verbal referencesto such. A catalogueby Henry Playford,assumed to date fiom 1690, refersto 'Mr. Lawes['s] Consort for 2 Lyra's, a Violin and Theorbo, prick'd in quarto.0l4l0'. Perhapsthese are the same consortsentered into a catalogueat GloucesterCathedral in which the panbook for the secondlyra viol is describedas 'The Harpsichordand 2d Lyra part'. See F. Traficante,'Music for Lyra Viol: The ManuscriptSources', Chelys 8 (1978- '19),20-21.It is curiousthat while both Lawesand JohnJenkins are reportedto havewritten piecesfor mixed consort with lyra viol and for three lyra viols, only mixed consortsby Jenkinsand only piecesfor threelyra viols by Lawessurvive. 12. Thesespecific numbersremain tentative,ofcourse, and subjectto adjustmentas new informationis uncovered. 13.A. Ashbee,'lnstrumental Music from the Libraryof JohnBrowne (1608-1691), Clerk of the Parliamenrs',lllL 58 (1977),56, 58, suggestsdates of 1620sand c.1630-45for CB- 357 Frank Tra/ican/e il'illittm Luwe,';'sLt'ru l/it

Lspencer.the'Brorvne'(fbrmerly'Braye') Bandora,,Lvra viol TablatureBook. The dates 23. Pepys.Dlan'. iv, l-s-s. c.1640-80 are suggested fbr GB-Lbl, Add MS 63852.the'Boynton'tablature by Frangois_ 24. J. Wilson (ed.), Rogcr North ort Music PierreGoy, on p.66 of the'Swan'facsimile.(See note l4 below.)Thus, rhe Lawespieces During the Yearsc.1695-1728 (London: Nove in thesetrvo nranuscriptsmight havebeen copied betbrethe composer'sdeath. 25. Wilson,ibid. f 4. rim crawford and Frangois-PierreGoy, eds.,The st. l,etersburg,swan, Manu.script:A Facsimile ol Mannscript o N' l2l, Librury o/ the st. petersburg Acatienry6/'sciences ?6. Comparethe conceitexpressed by Claudio (columbus:Editions orphee, 1994), 38, 'lnventoryand Guide to concordances., 27 June1592) of Il tcr:o libro de madrigalia, ,Lvra just is not produ 15. For a discussionof pitch namesin lyra viol tablaturesee F. Traficante, Viol as any plant which barren most noble Tunings:"All Way,shave been Tryed to do lt", AL,Mg2l3-4 ug70l, lgl_g2. of music, althoughwith the fortunategate ofyour service,I do not fail 16.Christopher Simpson urged the player to it does not seemto me to haveprovided be sureto hit the loweststring tirst (insistingthereon so longas needrequires) and these[madrigals]. being nrore permanent, let Bow the slideffom lr to the highest.touching in its passagethose in ihe middle plant's virtue from its roots into flowers, betwixt them. flowered fbr you in playingthe viola, v (christopher Simpson,The Division-t/iol (t.ondon. [1667]. g. A slightly diff'erentwording worthily and more perfbctl"v--serve you. but with the samesense appears in the editionof 1659.p. 7.) Mace is evenmore emphatic (Quoted in P. Fabbri,Llonteverdi. trans. T. Ca and informative,sal,ing that 27. Sir Peter Leicester.Poems & Churuclers mostScholars, and someMasters also ... wheneverThey shouldstrike a Full Stop Quoted in ElizabethM. Halcrow (ed.), Chat ... seldomHit the Lowest string.which is the very Substantialityof rhat Stop;It t660-1667 h,- Sir Petcr Leic'estcr.Remains beingthe Groundto all parts; ThoseUpper andwithout which the rest of rhat Stop PalatineCounties of Lancasterand Chester, V is (Generally)all False Musick. xxiii, 137. He advises.therefbre. that whenyou cometo a Full Stop,be surero givethe LowestString a Good Full Share of your Bow, (Singly,by It self.before you Slide It uponthe Rest)and LeaveIt likewisewith a little Eminencyof Snrartness,by Sweltingthe Bow a little,rvhen you part with rhat String. ('fhomas Mace, Musick's lllonument (London, 1676). 24e.)

l7' One wishesthat ways could be found to preservethese minor variationsin modern editions,since they help to conveythe richnessof the lyra viol tradition.When, say. two sourcesof a work survive that preserveobviously different conceptions,such as the two versions of Dowland's Lachrimae cited earlier, we are likely to see the wisdom of preservingboth. But when the differencesare small we ma),be temptedto selectone as the 'best' and bury small variationsfrom concordantsources in a quagmireof criticalnotes. Perhapsin this digital age when we have learnedhow to store huge amounls of easily retrievableinfornlation in very snrall spaces,the time has corneto devisemore overt wavs of preservingsuch subtleties. l8 l refer lo the conpositionof divisionsrather than to thejr spontaneousimprovisation because I am not sure how feasible it may be for even accomplishedperformers to perhaps improvisewhen usingvariant tunings. the five or six tuningsthat wereso popular as to be identifiableby their common nanresalone were familiar enough to enable improvisation. Two solo piecesby Lawescontain written-out divisions 1a corantoand a saraband).Each calls for the tuning known as harp sharp.They are VdGS lndex numbers 425 and 434.

19.The Dian, of samuelPepvs, ed. R. Lathamand w. Matthews.ll vols.(London. 1970- 83),v, 18. 20. rbid..25. 21. ThomasSalmon. An Es-su|'to tha .ldvnnt'ementof'lr,lusick (London l6i2),4g. 22.JohnPlayford, hlusick'sRecreutionontheLyral'iol (London. l65t5l).f.A3. 358 aJicante llillium I'atre;'.t Lvra I"iol lvlusic: StsmeOhservutittrts dorailyra viol TablatureBook. The dates 23. Pepys.Dian'. iv, 155. 3852.the'Boynton' tablature by Frangois- 24. J. Wilson (ed.), Roger Ntrth on Music Being u Stlaction .fi'om his Essat,sLl'ritten eenote l4 below.)Thus. the Lawespieces During the Yearsc.1695-1728 (London: Novello. 1959)' 257-258. beforethe composer'sdeath. 25. Wilson.ibid. , The St.Petersburg 'Sv'art' Manuscript: A conceitexpressed b1'Claudio Monteverdi in thededication (dated Mantua. ' the St. Petersburg Ac'udemy of Sciences 26. Comparethe u cinquevttci (1592): rryand Guide to Concordances.' 27 June1592) of Il ler:o libro de nudrigali just plant which is not barrenproduces fruit after flowers,so in mv profession ol tablaturesee F. Traficante,'Lyra Viol as any music,although with the most nolrle practiceof the viola which openedthe 4cNI9213-4 ( I 970). I 9 I -92. of fortunategate of your service.I do not t'ail in off'eringmy due servitude.nonetheless it does not seemto me to have provided in serving you anything but flowers, but I thereonso long as need requires)and these[madrigals]. being more permanent.more resemblefruit.... the sun drawsa :hingin its passagethose in the middle plant'svirtue from its rootsinto flowers.and front flowersinto 1iuil. ... if my skill flowered lor you in playing the viola, with its ftuits now maturingit can more pert'ectlyserve you. on, [667]. 9. A slightlydifferent wording worthily and more f 1659.p. 7.) Maceis evenmore emphatic (Quotedin P. Fabbri,illonteverdi. trans. T. Carter(Canrbridge' 1994). 28.) 27. Sir Peter Leicester.Poems & choracters by ne P. L. 0 rnunuscripl.N num. 9, p. 8. leneverThey should strike a Full Stop Quoted in ElizabethM. Halcrow (ed.), Churges lo lhe Grund Jury at Quarler Srussiorr,r he very Substantialityof That Stop; lt 1660-t667bt'Sir Petcr Leic'estcr.Remains Historical and Literary Connectedwith the rndwithout which the restof That Stop PalatineCounties of Lancasterand Chester, Vol. V Third Series(Manchester, 1953)' xxi- xxiii. 137.

,ethe Lowest String a GoodFull Share r SlideIt uponthe Rest)and LeaveIt is.by Swellingthe Bow a linle, when Musick'strlonument (London, | 676).

)reservethese minor variations in nrodem of the lyra viol tradition.When, say, two rslydifferent conceptions, such as the two er, we are likell,' to see the wisdom of rall we may be temptedto selectone as the nt sourcesin a quagmireof criticalnotes. ned how to store huge anrountsof easily : time hascome to devisemore overt ways ir thanto theirspontaneous improvisation be for even accomplishedperformers to he five or six tuningsthat wereso popular s alone were t'amiliar enough to enable ain written-outdivisions (a corantoand a Larpsharp. Thev are VdGS Index numbers rndW. Matthews.ll vols.(London. 1970-

nt of lv'lusick(London 1672).48. ra l'iol (London.165[5]), f. A3. 359