1575?--1623
In the previous Lecture I have mentioned Thomas Weelkes, and now turn
for a short space to this distinguished composer. As I have said
before, I do not profess to include all the great English musicians of
the 17th century in this short series of Lectures, and Weelkes is
selected, not only as being greatly superior to many others, but
because he has given us something original in the shape of combined
Instrumental and Vocal work, in addition to his valuable contributions
to the Madrigal School. Of this I must speak later. As a
Madrigal-writer he is notable as one of the "glorious company" of
contributors to _The Triumphs of Oriana_. Although little of his
Church music is published, yet as Organist of Chichester Cathedral and,
as a member of the Choir of the Chapel Royal, he was an experienced
Church musician. He left many Anthems, which are preserved in MS. in
various Libraries; and he contributed {30} two pieces to Leighton's
_Teares and Lamentations of a Sorrowful Soul_. In his _Fancies for
Strings_ he displays a very fertile imagination. I have had some of
his _Fancies_ performed at my various Lectures, and have found them
remarkable for melodic interest and very advanced as regards Harmony.
His instrumental writing is surprising; and, when one compares his
Fancies with those by Orlando Gibbons, one is astonished at the novelty
of his ideas. As will be seen later I shall have much to say in
connection with Gibbons, Deering, and Purcell in regard to the Fancy.
But I may as well at once explain that this was the form which was
supreme in the early days of the 17th century as a vehicle for
Instrumental writing. An enormous number of these compositions exist,
and it was not until Purcell's time that the Fancy disappeared--being
supplanted by the Sonatas for three strings and a Basso Continuo. It
was a form which helped on the progress of writing for Instruments in a
wonderful way. "Apt for Voices and Viols" was the usual title-page
which composers loved. But, when the Fancy developed, the writing was
far too elaborate to be "apt for voices," and so we get the independent
instrumental Fancy. It was, as a rule, a work of some considerable
length, and, while full of variety, it was lacking in {31} any real
development. The composer indulged his "Fancy," and wandered from
point to point at his own sweet will.
It was with the Fancy that Weelkes made an early experiment of adding a
vocal part quite independent of the strings. And he took for his vocal
part the popular series of "Cryes" which were then common to the
streets of London. He did not, as has so often been wrongly stated,
"set the Cryes of London to music," but he took the words and the music
of these old and very interesting things and added the vocal part to
what was a real Fancy for strings. It is said Morley did the same
thing, but I have, so far, failed to find any example of it.
Ravenscroft took many of these same old Cryes and worked them up as
Rounds, and Campion introduced _Cherry Ripe_ into a charming song
"There is a Garden in her face" in 1617; but the _Humorous Fancy_ by
Weelkes is, so far as I can see at present, the earliest of this kind
of work. Later, in connection with Gibbons and Deering, I shall have
much to say on this subject, as these composers also wrote _Humorous
Fancies_, the vocal parts being the same old Cryes of London but
treated in a more elaborate manner.
Weelkes' example is very charming, and although his string parts are
somewhat stilted, {32} yet there is always life in them. He makes one
point which shows he was not altogether able to forget his Madrigals
and Ballets. Like the latter, the _Fancy_ at one point leaves its
regular course, and for a few bars a delightful Dance tune is
introduced, to the words--whatever they mean--"Twincledowne Tavye." It
is as if the vendors of fish, fruit and vegetables met in the street
and had a bit of a frolic together. The Fancy is resumed with the
Cryes of the Chimney Sweep, Bellows-Mender etc., and later on a
beautiful song for the seller of "Broome" is introduced. The words of
this song date back before Weelkes, being found with slight variation
in an old play called _Three Ladies of London_, 1584. They are sung by
a character named "Conscience" who enters with brooms, and sings the
song.
No doubt the tune given by Weelkes is the original one.
The conclusion of this Fancy is very charming and rather like an Anthem:
Then let us sing
And so we will make an end
With Alleluia.
There are two MSS. of this work in the British Museum. I have followed
the shorter version, {33} as the longer is not only rather dull and
prolonged but includes a little deviation into vulgarity, and so is
hardly suitable for modern ears. The "Alleluia" occurs in the longer
MS. and I have included it in my version.
It is fortunate that there are two sets of parts, as neither of them is
complete. But having been so fortunate as to find these two sets I
have been able to restore the missing part.
The discovery of this Fancy is the reason why I select Weelkes instead
of Wilbye, one of his great contemporaries, and I think all lovers of
Shakespeare will be glad to make acquaintance with the music of the
_Cryes of London_ which saluted the Poet's ears in his daily walks.
Weelkes paid a loving tribute to "his dearest friend" Morley, on the
latter's death. The date of Weelkes' death (1623) and other
particulars have been brought to light by the investigations of the
Rev. Dr. Fellowes, whose devotion to the madrigal school is so well
known and appreciated. His paper on Weelkes (Musical Association, May,
1916) is an eloquent testimony to the worth of this composer, to whose
madrigal writing I have not space quite to do justice. The _Humorous
Fancy_, however, shows him in a new and interesting light.
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