Book contents
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Summary
JEREMIAH CLARKE is one of those composers seemingly destined to remain forever known by a single tune, in his case the so-called ‘Trumpet Voluntary’ to which countless English brides have processed to their nuptials – no doubt in blissful ignorance of the fact that it was apparently for love that the composer himself put a pistol to his head in December 1707. Though first published as a simple harpsichord piece in November 1699, this must almost certainly be an arrangement of a movement originally conceived for trumpet and strings. As ‘The Prince of Denmark's March’ it is but one of some thirtyodd harpsichord pieces by Clarke to survive in addition to those twenty-five movements which comprise the six suites posthumously published by John Young and Joseph Hare in 1711. One further three-movement suite survives only in manuscript. Together they constitute one of the most substantial (and musically rewarding) contributions to the English keyboard repertoire of the period, and reveal Clarke to be, in John Caldwell's words, ‘the most seriously under-rated petit-maitre of his generation’; he is also the most significant contributor to a hitherto unknown manuscript of late seventeenth- and early eighteenth-century English keyboard music which has only recently come to light.
This new source, now London, British Library, MS Mus. 1625, belonged formerly to Benslow Music Trust, a thriving adult music education centre in Hitchin, Herts (<http://www.benslow.org>), and had been bequeathed to them along with the rest of his musical library by the late Robin Miller (1915–2005), a trustee and sometime Director of Music at Oundle School. Copied most probably in 1705 or only shortly thereafter, the volume is of particular interest in that it is still in its original condition. Bound in calf on boards (with gilt edges, worm holes on the rear cover, and some loose stitching), it contains forty-four folios and thirty-five pieces, most of which have titles, but none of which is attributed. All are in the same hand, almost certainly that of the long-lived Daniel Henstridge (c. 1646–1736), successively organist of Gloucester, Rochester and Canterbury cathedrals.
- Type
- Chapter
- Information
- Essays on the History of English Music in Honour of John CaldwellSources, Style, Performance, Historiography, pp. 66 - 82Publisher: Boydell & BrewerPrint publication year: 2010