Music in the English Courtly Masque, 1604-1640

By Peter Walls | Go to book overview

4

The William Lawes Masques

The Triumph of Peace: A Case Study in Job Demarcation

The published text of The Triumph of Peace is one of the relatively few to mention the contribution of specific musicians. Its author, James Shirley, signs off by paying tribute, first to Inigo Jones as designer, and then -- in particularly generous terms -- to the musicians: 'The composition of the music was performed by Mr. William Lawes and Mr. Simon Ives, whose art gave an harmonious soul to the otherwise languishing numbers' (ll. 787-9). This picture of the music's genesis is corroborated by the best-known account of The Triumph of Peace, that in Bulstrode Whitelocke Memorials of English Affairs ( 1682). Whitelocke seems in a position to speak with authority; he describes himself as the person primarily responsible for the organization of the musical side of the entertainment and takes credit for the choice of such fine composers.

All of this makes it look as if Ives and Lawes shared the composition. Yet since the 1960s, when Murray Lefkowitz and Andrew Sabol investigated Whitelocke's surviving records at Longleat, it has been clear that the picture presented by the masque text and the Memorials was not complete.1 The Longleat papers do include payments to Lawes and Ives, 'for Composition of songes and symphonyes', but they also reveal that, amongst other duties, Davis Mell composed music for the antimasque. His payment is described as 'the reward of the Inns of Courte for service performed in attending the grand masquers practise playing to them on the treble violin & making some of the tunes for the antimasques'.2

Even then, the picture is not complete. Not one, but two sets of financial records dealing with music for The Triumph of Peace survive. In addition to the Longleat receipts and memoranda, there are a further set of accounts in the

____________________
1
See M. Lefkowitz, "'The Longleat Papers of Bulstrode Whitelocke; New Light on Shirley's Triumph of Peace"', JAMS 18 ( 1965), 42-60; and Sabol, "New Documents on Shirley's Masque".
2
Longeat House, Whitelocke papers, Parcel II, Item 9 (6), fo. 3v. Mell was, in fact, a fine violinist -- 'accounted hitherto the best for the violin in England' ( Anthony à Wood) -- and an interesting composer. For a discussion of Mell's music in relation to the development of 17th-c. violin-playing in England see my "Influence of the Italian Violin School in Seventeenth-Century England", EM 18 ( 1990), 575-87.

-159-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Music in the English Courtly Masque, 1604-1640
Table of contents

Table of contents

  • Title Page iii
  • Preface vii
  • Contents xi
  • List of Plates xiii
  • List of Tables xiv
  • List of Music Examples xv
  • Abbreviations xviii
  • Introduction 1
  • 1 - Texts, Scores, and Musicians 7
  • 2 - Masque Song 43
  • 3 - Dance and Instrumental Music 104
  • 4 - The William Lawes Masques 159
  • 5 - Music for the Eyes 206
  • 6 - French Influence in the Caroline Masque 221
  • 7 - Masques Away from Whitehall 260
  • 8 - Realizations 304
  • Epilogue 333
  • Appendix - A Calendar of Masque Texts 341
  • Bibliography 349
  • Index 361
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 372

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.