The Detroit Recorder Manuscript

(England, c. 1700) 1

David Lasoc~i

Introduction attributed to Corelli in another source almost certainly not by him), the ARIOUS ITEMS RELATING TO THE illS­ l3. ~~~~~~~~ V tory of the recorder in Europe now pieces were written by four composers: rest in American collections. The best Gottfried Finger (nine), James Paisible known are the recorder methods and (seven), William Williams (two), and Ed­ It·~~E~~~~~ prints of Baroque recorder music in the Li­ ward Finch (one). Since few recorder play­ ers will know very much about these com­ brary of Congress and the instruments in 15.~§@~~~~~~ the Dayton C. Miller collection in the posers, I shall summarize what I have been same institution. One item that seems to able to find out about their lives. This ex­ have gone unreported in the literature so ercise also sheds light on the background 16.~~§~~~~~~ far is a manuscript volume ofrecorder mu­ of the manuscript. sic in the possession of the Detroit Public Library.2 The manuscript, a score written Example 1. Incipits of all the compositions in 17. m~~~~~~~~ in a legible hand, is entitled "Sonates pour the Detroit manuscript. une [two words crossed out] fluttes et Basse" on the front cover in a different 18·~~~Ei~~~ Ii hand. The title is misleading in two ways. 1.,& !U.s",:~.8gf1 UE'itl ('fd I IF I First, the manuscript contains not only 11. ~~~~~~Q~ sonatas for alto recorder and basso contin­ uo-seventeen ofthem-but also two sets l.@~~~~~~~ ofdivisions on ground basses for the same combination and a duet for alto recorders. 3. '* if: M: [kef lE:blU WEIEr I Second, the manuscript is of English rather than French provenance. The re­ corder part is notated in treble clef rather 't·~~.mmmm~ than French violin clef, and the titles of the individual pieces in the copyist's hand 'The Composers are mostly garbled Italian (for example, 5·~~~~~E~m~ Gottfried Finger (or Godfrey, as he was "Sonatta Flutto Solo") but sometimes known to the English) was born around English ("Ground/Division" and "Sonatta b·~~~~~~m~ 1660, probably in Olomouc, Moravia, For 2 Flutes"). All the music in the vol­ where his father was a Stadtpfeifer. We ume is anonymous with the exception of know nothing of his early life, except that Sonata II, which is attributed to 7.~~~~mm~~ the nineteenth-century German musicolo­ "Courtiville," presumably a reference to gist Riemann claimed he was in Munich in Raphael Courteville (fl. 1687-1735), who 1682. He seems to have gone to England was born in England of French ancestry 8.~~~~fi~~~ early in 1687, when he became one of sev­ and wrote a recorder sonata and a set of eral foreign instrumentalists in KingJames ~ ",,3 * f­ six duets.3 f;! II's Roman Catholic chapel. He received ~'Y i (! 1 P EJU I(JlU The aim ofthe present article is to iden­ frliff=t riding charges in 1687 and 1688 for ac­ tify all the compositions and to sketch the companying the king to Windsor and else­ milieu in which they were composed, per­ 'O'~~~~~~n~~~ where during the summers. His first pub­ formed, and distributed. A complete table lished pieces, a set of twelve sonatas for of contents is found in Table 1 and the in­ various combinations of strings and basso cipits in Example 1. Ironically, the only l1·~g~~~~m~ continuo (1688), were dedicated toJames; identification of a composer in the manu­ they were played in the chapel and per­ script turns out to be incorrect (it was Fin­ 12.~~~§m~~~ haps as dinner music. ger, not Courteville). Apart from a sonata James fled the country late in 1688 and

August 1982 95 'Table 1. Contents Nos. I-XIX are for alto recorder and basso continuo; XX for two alto recorders. N.o. Composer Title Key ConcOf'dances Modern Editions William Williams Sonata d A Sonata for a Single Flute. en, 1) ed. Hugo Ruf, Kassel: Biiren, gta ved by Thomas Cross, London: reiter, 1971 (Hortus Musicus n.p., c. 1700. 208). 2) ed. Adrienne Simpson, London: Stainer Ci Bell.

Il Gottfried Finger Sonata F 1) Dix Sonates a 1 Flute & 1 Basse ed. Peter Holman, Tokyo: Zen' Continue . .. Opera Terza, Amster' On, in preparation. dam: Roger, 1701, No.8. 2) Bodleian Library, Oxford, Mus. Ms. C61, pp. 50-53 (in D for violin).

III Gottfried Finger Sonata g Dix Sonates . .. Opera Terza, No.4. ed. Peter Holman, Tokyo: Zen' On, in preparation.

IV Gottfried Finger Sonata Bb Dix Sonates . .. Opera Terza, No.3. ed. Peter Holman, Tokyo: Zen, On, in preparation.

V Edward Finch Sonata C 1) Autograph ms., c. 1685-89, ed. David Lasocki Ci Peter (The Cuc' Durham Cathedral Library, Bam' Holman, Tokyo: Zen,On, in kow rcuc, burgh Ms. Mus. M70, Rev. pp. preparation. 41-44 (in G for violin). Sources 2) Bodleian Library, Oxford, Ms. 1-4) Mus. Sch. E.399, ff. 44v-45 (in G). 3) 'The second part of the Division Violin . .. 2nd edition, London: H. Playford, 1693, pp. 16-19 (in A for violin). 4) 'The Cuc~ow Solo, London: Walsh, c. 1730.

VI Gottfried Finger Division F 1) Dix Sonates...Opera Terza. No. 10. 1) London: Schott. [on a] 2) 'The second part of the Division 2) ed. Peter Holman, 'The Divi, Ground Flute, London: Walsh, 1708, No. 1. sion RecOf'der, Boo~ Two, New (Ciacona: 3) 'The First and Second Boo~s of York: Shattinger,International Source 1) the Division Violin, London: Walsh, Music Corporation, 1979, No.1. 1708, No. 10 (in D for violin).

VIl Gottfried Finger Division F British Library, Add. Ms. 35043, ed. Peter Holman, 'The Division [on a] f. 123v. RecOf'der, Boo~ Two, No. 17. Ground

V III Gottfried Finger Sonata C Dix Sonates . .. Opera Terza, No.5. ed. Peter Holman, Tokyo: Zen' On, in preparation.

IX Gottfried Finger Sonata F 1) VI Sonatas or Solo's. 'Three for 1) London: Boosey fi Hawkes a Violin & 'Three for a Flute, Lon' (formerly Rudall Carte). don: n.p., 1690, No.6. Reissued: 2) ed. Peter Holman, Tokyo: London: Walsh, c. 1701-02; Am' Zen,On, in preparation. sterdam: Roger, c. 1701. 2) Six sonatas Of' solos for the flute ... , London: Walsh, Randall Ci Hare, 1709, No.3. 3) Cambridge, Rowe Music Library, Ms. 122, f. 12v, No. 43. 4) British Library, Add. Ms. 31993, f. 3v (incomplete bass part only). 5) British Library, Add. Ms. 31466, No. 48 (in D for violin).

96 'The American Recorder 6) British Library, Add. Ms. 41205, f. 26v (last movement only, for keyboard).

X Gottfried Finger Sonata d 1) VI Sonatas, No.5. 1) ed. D. Boyle, London: Boo, 2) Six sonatas, No.2. sey Ci Hawkes (formerly Rudall 3) Rowe, Ms. 122, f. 14v, No. 44. Carte), 1937. 4) British Library, Add. Ms. 2) ed. Peter Holman, Tokyo: 31993, f. 2v (incomplete bass part Zen,On, in preparation. only). 5) British Library, Add. Ms. 31466, No. 49 (in b for violin).

XI Gottfried Finger Sonata G 1) VI Sonatas, No.4. 1) ed. Edgar Hunt, London: 2) Six sonatas, No.1. Boosey Ci Hawkes (formerly 3) Rowe, Ms. 122, f. 10v, No. 42. Rudall Carte), 1934. 4) Rowe, Ms. 226, No.6. 2) ed. Peter Holman, Tokyo: 5) British Library, Add. Ms. Zen,On, in preparation. 31993, f. 3 (incomplete bass part only). 6) British Library, Add. Ms. 31466, No. 50 (in E for

XII James Paisible Sonata d 1) Paris, Bibliotheque N ationale, ed. David Lasocki, London: Res. Vma. Ms. 700, pp. 18-21, Earlham Press, 1982 (E.? 1002). No. IV. 2) Paris, Bibliotheque Nationale, H. 659, II, pp. 96-101. 3) Rowe, Ms. 122, No. 46.

XIII James Paisible Sonata Eb 1) Paris, Bibliotheque Nationale, ed. David Lasocki, London: Res. Vma. Ms. 700, pp. 8-12, No. Nova Music, 1981 (N.M. 182). II. 2) Rowe, Ms. 122, No. 41.

XIV James Paisible Sonata g Paris, Bibliotheque Nationale, Res. Vma. Ms. 700, pp. 22-25, No. V.

XV James Paisible Sonata d Paris, Bibliotheque Nationale, Res. Vma. Ms. 700, pp. 26-29, No. VI.

XVI James Paisible Sonata Bb Paris, Bibliotheque Nationale, Res. Vma. Ms. 700, pp. 13-17, No. III.

XVII James Paisible Sonata D Paris, Bibliotheque Nationale, Res. ed. David Lasocki, London: Vma. Ms. 700, pp. 1-7, No. I. Nova Music, 1982 (N.M. 187).

XVIII James Paisible Sonata e Paris, Bibliotheque Nationale, Res. Vma. Ms. 700, pp. 30-35, No. VII.

XIX (Arcangelo Sonata d 1) Sonate a Violino Solo col Basso ed. David Lasocki Ci Peter HoI ... Corelli, attrib.) Continuo Composta da Arcangelo man, Tokyo: Zen,On, in prepa... Corelli e Altri Autorii, Amsterdam: ration. Roger, 1697, No.5 (in a for violin). 2) British Library, Add. Ms. 31466, No.2 (in a for

XX William Williams Sonata C 40 Airs Anglois aun dessus C:::f une ed. David Lasocki Ci Peter Hoi, basse C:::f trois sonates. Ies deux pre' man, Tokyo: Zen,On, in prepa, miers a2 dessus C:::f Ie troisieme aun ration. dessus C:::f une basset choisis C:::f mis e11 ordre par George Bingham. Livre second, Amsterdam: Roger, 1702, No.2.

August 1982 97 his successors, William and Mary, dis, In March and June 1701, his setting of come official composer to Prince George of banded the chapel. Presumably because Congreve's Judgement of Paris was per, Denmark, the consort of Princess Anne. he was a Roman Catholic, Finger was not formed in the famous competition at Dor, Paisible wrote a special dance for Anne's re,employed at the court but began a set Garden Theatre. The winner was birthday every year until her death in career as an independent performer, com, John Weldon, John Eccles was second, 1714. poser, and promoter in London. The dedi, Daniel Purcell third, and Finger only By 1702 Paisible was also a member of cation of a set of violin and recorder fourth. Then, as Roger North recounted, the band at Drury Lane as a bass violinist, sonatas to the Earl of Manchester in 1690 Finger, "having lost his cause, declared he although in the theatre's frequent inter, suggests that Finger was also receiving was mistaken in his music, for he thought mission entertainments of sonatas and patronage from him. The following year he he was to be judged by men, not by boys, chamber music he always played the re, published more music for violins and re, and thereupon left England, and has not corder. The Drury Lane musicians also corders, some of it jointly with John Ban, been here since." Late that year he was in played in public concerts at York Buildings ister II (1662-1736), the violinist and Vienna, and he remained on the Conti, and elsewhere. In 1708 Paisible moved to recorder player.4 nent for the rest of his life. He moved with the Queen's Theatre in the Haymarket, In November 1693 Finger began to ad, the court of Duke Karl Philipp of Neuburg, the recently built opera house, as a cellist. vertize a series of concerts at the York later Elector Palatine, from Breslau to The only surviving account of his recorder Buildings music room that seems to have Innsbruck, Neuburg an die Donau, Hei, playing dates from 1710, when a German continued weekly, except during the sum, delberg, and Mannheim, where he was traveller, Uffenbach, who heard him play mer, until the spring of 1697. Several buried on 31 August 1730.6 in a concert, said that his "equal is not to pieces of evidence suggest that this series James Paisible was one of the most im, be found." had started at least two years earlier portant recorder players of the late Ba, By 1715 Paisible had moved back to under the joint promotion of Finger and roque era and a significant composer in Drury Lane, where he again played the re, Giovanni Battista Draghi, a former col, England of recorder and theatre music. He corder in concertos and other intermission league in James' chapel, and with the keen was born around 1656, almost certainly in entertainments. From 1713 to 1719 his par, interest of Princess (later Queen) Anne, France and probably in or near Versailles, ticipation in various public concerts is who had been a music student of Draghi. where his relatives were among Louis documented. He often played on a myster, Finger, a gambist, and Draghi, a keyboard XIV's musicians. (His original first name, ious instrument called the "echo flute"7 player, presumably provided the all,im, found in his French will, was Jacques; the and recorders large and small. He died in portant basso continuo accompaniment surviving sources in his adopted England, early August 1721 and was buried at St. for the concerts. The advertisements fur, including his English will, all call him Martin,in,the,Fields - a church now nish only the barest of details about the James.) He seems to have gone to England famous for its Academy - on the 17th of music and none at all about the per, in 1673 with the composer Robert that month.8 formers. But it is probable that the large Cambert and three other recorder/oboe William Williams' origins and training quantity of chamber music that Finger players, who brought with them the new are unknown at present. In 1695 he was wrote during the 1690s, including many Baroque instruments from France. appointed to the royal band of twenty, solo, trio, and quintet sonatas involving In the 1670s and early 80s, Paisible per' four violins without fee and received a the recorder,5 was intended for his concert formed in the London theatres and occa, paid place two years later. His career was series. sionally at court. He also acted in and short,lived, however, for he was buried at In 1695 Finger composed the incidental helped with the music for the scenes en mu, St. Mary,1e,Strand on 20 January 1701. In music for William Congreve's most suc, sique that the French philosopher Saint' April that year a benefit concert was held cessful play, Love for Love, which was per, Evremond put on at the fashionable house at York Buildings for his widow and three formed on the opening day of the Lincoln's of the exiled Duchesse de Mazarin at small children, the program consis ting of Inn Fields Theatre. Finger continued to Chelsea, then just outside London. His "all new music, part of it being his own." provide such music for this theatre regu, first official court appointment came in His compositions include songs and trio larly until the spring of 1697 and must be 1685, on the accession of]ames II, as a bass sonatas for recorders and violins.9 considered their "house composer." violinist in the band of twenty,four 'The Honourable and Reverend Edward No London activity is recorded for violins. (The bass violin was a large cello, Finch (1664-1738) was the fifth son of Finger from the spring of 1697 to February tuned a tone lower than the modern in, Hineage Finch, First Earl of Nottingham 1699, when he promoted a concert of strument.) In December of the following and Lord Chancellor to Charles II. Ed, "vocal and ~nstrumental music, after the year he also became one of the instrumen, ward took his M.A. at Cambridge in 1679, Italian manner" for his own benefit. Five talists in James' Roman Catholic chapel. became Fellow of Christ's College, and years later, a collection of music formerly The same month he married Moll Davis, a represented the university in parliament owned by Finger, and which he had made former actress who had been one of the in 1689-90. He was ordained deacon at "in his travels in Italy," was auctioned in late Charles II's mistresses; the marriage York in 1700 and became rector ofWigan. London. In view of his absence from the therefore caused much ribald comment at Four years later he was appointed pre' London scene in 1697-99 and the Italian, court. bendary of York and moved to the same style music he put on when he returned, Like Finger, Paisible was not reappoint, position at Canterbury in 1710.10 Finch his Italian visit may have taken place at ed to the court on the accession ofWilliam was an enthusiastic musical amateur. that time. In 1699 he composed one set of and Mary in 1689 but instead developed The surviving part of his collection, ~ow incidental music for Lincoln's Inn Fields, an independent career as a composer of in, scattered among several British libraries, then switched to the rival company at termission music for the Theatre Royal, includes his transcriptions of works by Drury Lane Theatre, for whom he com, Drury Lane, and probably a performer in Corelli, Finger, John Jenkins, Pez, Valen, posed regularly until May 1701, ending the public concerts at York Buildings pro, tini, and Ziani. His own compositions con' with a full opera, 'The Virgin Prophetess. moted by Finger. By 1694 he had also be, sist of church music, violin sonatas, and a

98 The American Recorder trio sonata for two transverse flutes, and King and a German named Johann Wil, cantatas (1710 and 1720) had been 16 he wrote a Grammar for Thorough Bass. II helm Franck, later King and Banister. Both authorized by him. The manuscripts that venues were in fashionable areas between were never published, too, naturally often The Milieu the old City of London and the home of comprised popular concert and theatre During the course of the seventeenth the court in Westminster. 13 music. century, the court declined as the focus for During the 1690s too, the same musi, The Compositional Style the composition and performance of sec~ cians were closely involved with music in ular music in England. At the beginning of the London theatres, as both composers The works in the Detroit recorder man, the century the court musicians were still and performers. The commonest kind of uscript reflect the growing interest in Ital, relatively well paid and protected. At the work for composers was to provide "act ian music shown by composers in England start of the Civil War in 1642, however, music," which is called for in virtually at the end of the seventeenth century. they were dismissed anq fled abroad or every play of the period, regardless of any The composer most heavily represented suffered penury at home. Upon the Res' other music it might contain. It usually in the manuscript, Gottfried Finger, toration of the monarchy under Charles II consisted of an overture and several short played an important role, as both com' in 1660, the performing groups at court dances, played before the play began and poser and concert promoter, in populariz, were reconstituted, and music in the at the conclusion ofeach of the acts except ing the new style. He arrived in England French style, which Charles had come to the last. (Arrangements of such tunes, at a time when the instrumental works love while in exile, became fashionable. incidentally, are often found in the re, the native composers still relied largely on But he ran into serious financial difficulties corder methods and collections of the airs and dances i;} the French style ofLully during his reign. The wages of his court time.) The names of the composers read and his contemporaries and the repetitive servants, including the musicians, were like a list of those who wrote most of the patterns of divisions on ground basses, eventually several years in arrears. The recorder music: Henry and Daniel Purcell, although the trio sonatas of such Italian musicians were therefore forced to supple~ Finger, Paisible,John Eccles, Tollett, Cor' composers as Cazzati, Colista, and Vitali ment their income outside the court. bett, Croft, Gorton, King, Banister, and so were already making their influence felt. Besides teaching, the two major sources on. Apart from songs and pieces that were In the preface to his set of six violin and of employment they developed were pub~ part of the action of the play, which were recorder sonatas published in 1690 (of lic concerts and the theatres. Concerts in provided by actors with musical ability or which the recorder sonatas form Nos. the modern sense, with a fixed admission musicians with acting ability, the music of IX-XI of the Detroit manuscript), Finger charge - apparently the first of their kind the theatre was played by a band that remarks that "the humour of them is prin.. anywhere in Europe were started in could vary in size from a handful of fiddlers cipally Italian, a sort of music which, 1672 by one of the royal violinists, to over thirty members in the larger pro, though the best in the world, yet is but Banister I, the father of the recorder ductions. 14 The identity of the musicians is lately naturalized in England." But he player and violinist mentioned above. His not known with any certainty until 1702, notes "the kind welcome" Italian music concert series seems to have been success~ when the founding of London's first daily had recently received and adds that "it ful enough to run daily until his death in newspaper, the Daily Courant, gave the now begins to flourish and grow unto 1679. There may have been a lull in con, theatre managers the opportunity to ad, esteem amongst us." cert promotion in the 1680s, but a new in' vertise their wares in some detai1. 15 Ac, Although the "humour" of Finger's centive appeared in 1689. As we have tually the advertisements name not the sonatas is Italian, they represent an seen, James II attracted a number of for' members of the band as such but the musi, amalgam of three distinct interests. As eign Roman Catholic musicians, including cians who played in the intermission Peter Holman has pointed out: Finger and Paisible, to his court chapel. entertainments, who were probably Elements of his native Austrian style His successors, the staunchly Protestant drawn from the bands. By that time these ing] a delight in instrumental virtuosity ...are William ill and Mary, did not reappoint entertainments had become mini,con, combined neatly with English forms and these musicians, nor were they inclined to certs, whose function was to display the idioms. The result was something new: a style money on music at court. So the latest music, usually Italian in style. The of instrumental music based on the abstract pat, foreign musicians, out of work in a strange named musicians include the recorder terns ofItalian da chiesa sonatas, but filled with land, and underworked and underpaid players Paisible and Banister. an Austrian virtuosity and an English tuneful, royal musicians such as Banister II and The music that was published, primarily ness. It was just what was needed at a time Robert King (another violinist and record, for amateurs and mainly by John Walsh when London society was becoming accus, er player), separately and together (from 1695 onwards) and the London tomed to listening to music rather than playing it, and it was widely imitated by a generation of created the popular and successful con, agents of the Amsterdam publisher native composers, among them William Croft, certs of the 1690s. As Roger North put it Estienne Roger, generally consisted of the Daniel Purcell and William Corbett, who were in his usual colorful fashion: "The masters very music that was being heard in the coming to maturity shortly before 1700. From began to display their powers before the concerts and theatres. In many cases, pub, this point of view, Finger's abrupt departure wise judges of the town, and found out the lishers had no direct contact with the com' from England in 1701 ... was doubly unfortu, grand secret, that the English would fol, posers - and consequently paid them nate. Not only was the English musical scene low music and drop their pence freely, of nothing - but simply acquired manu, deprived ofits best composer ofchamber music which some advantage has been since scripts that were circulating among musi, between [Henry] Purcell and Handel, but made. "12 The main venues were two cians or amateurs. Johann Christoph without his example its new generation lapsed music rooms specially built for that pur, Pepusch, for example, whose recorder and all too easIly into insipid imitations ofCorelliP pose: York Buildings, where Finger and violin sonatas and other pieces were The fast movements of Finger's recorder Draghi were the promoters for several issued by both Walsh and Roger from sonatas may not strike us as virtuosic in years, and Charles Street, Covent Gar, 1704 onwards, claimed that of all his comparison with the music of Bach, Tele, den, where the promoters were. at first publications only the two sets of English mann, and Vivaldi written thirty years

August1982 99 inating influence of Corelli in the first Example 2. 'Third movement from Finger, Op. 3 No.4 (3). decade of the eighteenth century. Exam­ .A.J.AfJi.C ple 4 demonstrates not only virtuoso de­ mands but also the composer's taste for far-flung modulation; the movement, in D major, passes through major on its return to the home key. Example 5 finds ill!: Paisible trying out - not suc­ :t 7 fb bb cessfully - a long descending chromatic bass line. Perhaps not his most polished movements are over­ tures and dances which, although given Italian tempo markings, retain many char.. acteristics of his earlier French style. 1:.7 7 (, 5 3 William Williams' style, as Michael Til­ mouth has pointed out, "is by no means entirely swamped by the Italianate fea .. tures that were beginning to dominate English music in his day." In his recorder sonata, '"treble and bass play an equal part in the contrapuntal scheme ... though the work is too extended for the slender but at the time they must have James Paisible, born and trained in nature of its materiaL "21 The duet is an at.. a stir. The English element is France, naturally began composing in the tractive work with present in the shape of move­ French style, examples of which are to be movements. In the Detroit manuscript ments partially or totally derived from a found in his theatre music of the 1680s and middle movement of the published ground bass. The last movement of his 90s, his dances for Anne's birthday, and in the minor key, is reolaced Opus 3 No.8 (Detroit No. II), for exam­ his suites for two alto recorders and basso ment similar to the ple, is built on eight repetitions of the de­ continuo.20 In the 1690s, however, he ex­ sonata. scending tetrachord D-C-Bh-A, a four­ perimented with elements of the Italian No. XIX of the Detroit manuscript is measure transition, then eight re[)etltlCms which he would have absorbed as a found in a published collection of violin sonatas "composed by Arcangelo Corelli of the descending tetrachord t"\",..fr-...I"n"''' in the concerts and theatre. I The movement I have chosen to re~)re,serlt because his new and other authors," although it is clearly his style (Example 2) shows all three influ­ a bOld, even reckless not the work ofCorelli. Its attribution in a ences. Its tempo marking, Adagio, sug­ about them, as if he had been contemporaneous manuscript is perhaps gests the Italian style, as do the recitative­ freedom to tryout something based on a misreading of the title of the like first measures and the ornamental exciting and was enjoying himself enor­ printed collection. Parts of it are reminis­ flourish in thirty-second notes (an early mously. Thirteen of his sonatas for alto cent of the sonatas of Finger and Paisible, type of cadenzaYH towards the end. recorder and basso continuo survive in and it was orobablv written by an English However, the figuration of the flourish manuscript, seven of them in the Detroit theirs. Finally, the and its surprise-are more Austrian than collection (Nos. XII-XVIII). One of the "'Cuckoo Sonata" by Finch is a curious ex .. Italian. On the other hand, the figuration reasons why they were never published, ample of what an English amateur could of measures 2-7 and the long descending but circulated only in manuscript, may write under the influence of the new bass line are more reminiscent of divisions have been their considerable virtuosity, Italian music. Its style is rather crude, but bass. Finger's practice of mak­ far above that demanded by Finger and not without a few imaginative touches bass continue for a measure or so not exceeded in any recorder music writ­ and a certain charm. My favorite move .. the final cadence in the recorder part ten during the next thirty years. Example ment the fourth, a giga in perpetual - a practice found also in the F in nl>t"'""',, 3 shows the level of difficulty. It also eighth notes ending with a short section in sonatas of Daniel Purcell is shows Paisible's fondness for stepwise 3/2 meter-is unfortunately omitted in the derived from an exactly similar device in motion in the melodic line, typical of the Detroit source. English songs of the period for voice and French style and retained in the anglicized Conclusions basso continuo. 19 Italian stvle until the advent of the dom- All the pieces in the Detroit manuscript Example 3. Extracts from movement of Paisible, Sonata in G minor have survived in other sources. Interest.. these pieces differ frequently from concordances in matters of bass fig.. p,,,t. ~ M." ~.*~ q~l.i Dr fir err I J rfrr F I Wfrnrcru I ~~ rlID ures, slurs, rhythms, ornaments, time sig.. natures, tempo markings, and sometimes in notes and the omission or replacement 1t wiiUUHEto IWfH#efYUuI cUIffftff:tFfFf I of a movement. The nature of these differ­ ences shows that the manuscript was not copied from any of the other surviving 'oj' IIIJHFlIII'I sources, even those printed at that time, but rather from others that have not sur..

100 The American Recorder vived presumably the autographs or Example 4. Extracts from second movement of Paisible, Sonata in D major (17). manuscripts of other copyists. The Detroit copyist chose the best of Finger's Presto Opus 3 sonatas (although curiously he missed the grand C minor sonata;22 per, haps it had not yet been written) and most of the best of Paisible's. If he selected the works himself, he had good taste. The three main composers represented in the manuscript were closely identified with the public concerts and theatres in (trj London in the 1690s. Although the chamber music Finger first wrote in /fFHifC;r1EH!t- =ffiR England, perhaps including recorder sonatas IX-XI of the Detroit manuscript, ter to DL, 8 December 1980). A facsimile of the was intended for performance inJames Irs played by Banister or King or any of the other professional performers of the complete Detroit manuscript has recently been chapel, his later large output, including published by Musica Musica, Basel, Switzerland. the Opus 3 sonatas, was almost certainly decade. The pseudo,Corelli sonata also 3My edition of the recorder sonata is published by intended for his concerts and perhaps also falls into this category. The Finch sonata Zen,On, Tokyo (R,146, 1978). Since the edition the theatre. is the odd work out. But as a recorder ar, was published, I have discovered that the sonata Paisible is known to have taken an ac, rangement, based on the customary was probably an arrangement of one for violin. The transposition a minor third higher, of a duets have been edited by F,J. Giesbert for Schott, tive part in the concerts of the first two Maim (OFB 17). decades of the eighteenth century, and I violin sonata that was published in 1694 4For a detailed biography of Banister, see my ha ve no doubt, although there are no ad, and therefore readily accessible, it too forthcoming Ph.D. dissertation, Professional vertisements to prove it, that he played could easily have been played by profes, Recorder Players in England, 1500-1740 sionals. In conclusion, therefore, the University oflowa). at least as important a role in the concerts 5For somewhat out,of,date surveys of Finger's of the 1690s. At the same time he was Detroit manuscript contains some of the recorder music see Arthur W. Marshall, "The probably already a member of the band at repertory that Paisible and other profes, Chamber Music of Godfrey Finger," The Consort the Drury Lane Theatre and a participa, sional recorder players presented in the XXVI (1970), 423-32, and the same author's "The Recorder Music of Godfrey Finger," Recorder C9-' tor in their intermission entertainments. public concerts and theatre enter, tainments in London in the 1690s. Music V/ll (September 1977),350-52. His bold and virtuosic recorder sonatas 6This biographical material is based on Michael were surely written for himself to play in NOTES Tilmouth's article in The :New Grove as well as refer' those concerts and entertainments. ences in the same author's A Calendar of References Moreover, he was probably the recorder II am extremely grateful to Michael Lynn for to Music in :Newspapers published in London and the drawing the manuscript to my attention and sending Provinces (1660-1719), Royal Musical Association player who inspired all of Finger's me a photocopy of it. I should also like to ex, Research Chronicle I (1961), and in British Library, sonatas. press my sincere appreciation of the countless ideas Sloane Ms. 1388, f. 78 (on Finger and Draghi). Williams' recorder sonata may also and nuggets of information that Peter Holman has 7Paisible also played the "small echo flute." The have been written for Paisible, although shared with me during my study of the manuscript name of course calls to mind the "fiauti d'echo" of and its milieu. ].S. Bach's Brandenburg Concerto No.4, which, it since its technical demands are more 2Call number RM788.1191 S698. Mrs. Agatha seems to be generally thought, are probably alto modest, it could equally well have been Pfeiffer Kalkanis, Chief of the Music &' Performing recorders in G. The inventory ofPaisible's posses­ Arts Department, Detroit Public Library, has kind, sions at his death in 1721 lists only "2 voice flutes, Iy informed me that the manuscript was purchased one consort flute &' 2 small ones ... &' an old cane from an unidentified British firm in 1951 for the flute" (London, Public Record Office, PROB modest price of $23.52. She also writes: "Miss 3/21/112). Dorothy Tilly would have been the Chief of this 8This biographical material is based on the study Department at the time this came into our posses, of Paisible in my dissertation (see note 4 above). sion. As I understand, she was a recorder enthusi, 9This biographical material is based on references ast and had a special fondness for purchasing in Henry Cart de Lafontaine, The King's Music~ recorder music, as our present holdings testify" (let' (London: Novello, 1909; reprint New York: Da

Example 5. Fourth movement of Paisible, Sonata in E minor (18).

(...A.J.o.3i.o) ;---. THEO MlLLEJt8' SUSAN ANDE~SEN IMAl

August1982 101 Capo Press, 1973), Michael Tilmouth's article in tion, Chamber Music in England, 1675-1720 (Cam, 1979), Sonata in C, Opus 5 No. 10, for violin, bas' 'The New Grove, the same author's Calendar, and bridge University, 1959-60), 19-90. See also the soon and b.c. (N .M. 129, 1980), and Two Sonatas, the parish registers of St. Mary,le,Strand (Victoria same author's "Some Early London Concerts and No.3 in g and No. 4 in F, for 2 alto recorders, 2 Branch Library, City of Westminster Public Music Clubs, 1670-1720," Proceedings of the Royal oboes and b.c. (N.M. 144, 1979). Libraries) . Musical Association LXXXIV (1957-58), 13-27. 18For more on woodwind cadenzas, see the article IOThis biographical material, taken from 'The Dic' 140n "act music" and the theatre musicians, see "Cadenza" in 'The New Grove, David Lasocki, 'The tionary of National Biography, VII, 5, is repeated in Curtis A . Price, Music in the Restoration 'Theatre Eighteenth,Century Woodwind Cadenza (M.A. the cursory article in 'The New Grove. with a Catalogue of Instrumental Music in the Plays thesis, The University of Iowa, 1972), and David lIThe information on Finch's collection and com, 1665-1713 (Ann Arbor: UMI Research Press, Lasocki & Betty Bang Mather, 'The Classical Wood, positions was kindly supplied by Brian Crosby (let' 1979),52-87. wind Cadenza: A Wor~boo~ (New York: McGinnis ter to DL, 9 June 1980). See also his somewhat out, 15The references to music in the advertisements & Marx, 1978). of,date article, "Durham Cathedral's Music are conveniently collected in Tilmouth's Calendar. 19This is pointed out in Tilmouth, Chamber Manuscripts," Musical 'Times CXV/5 (No. 1575, 16Information kindly supplied by Don Cook. Music, 291-92. May 1974), 418-2l. 17This passage forms part of the prefaces to four of 20See my edition of the suite in C minor published 12John Wilson, ed., Roger North on Music (Lon, his editions of Finger's chamber music published by Nova Music, London (N.M. 191, 1982). don: Novello, 1959), 305n. thus far by Nova Music, London: Sonata in Bb for 2 21In his article in 'The New Grove. I3The best survey of the public concerts is in oboes/violins and b.c. (N.M. 109,1979), Sonata in 220pus 3 No.2. Modern edition ed. Arthur W . Michael Tilmouth's unpublished Ph.D. disserta, C for oboe/trumpet in C, violin and b.c. (N.M. 115, Marshall, Nova Music, London (N.M. 105,1979).

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