Book contents
- Frontmatter
- PREFACE
- Contents
- CHAPTER I BEFORE THE INVENTION OF COMPOSITION
- CHAPTER II THE INVENTION OF POLYPHONY (1400–53)
- CHAPTER III THE PERIOD OF THE INVENTION OF INSTRUMENTAL COMPOSITION (1453–1536)
- CHAPTER IV THE REFORMATION: FROM THE DISSOLUTION OF THE MONASTERIES TO THE DEFEAT OF THE ARMADA (1536–88)
- CHAPTER V THE MADRIGALIAN PERIOD (1588–1630)
- CHAPTER VI THE AGE OF THE DECLAMATORY SONGS, OF THE FANCIES FOR VIOLS, AND OF THE SUPPRESSION OF ECCLESIASTICAL MUSIC (1630–1660)
- CHAPTER VII THE PERIOD OF FOREIGN INFLUENCE, AND OF DRAMATIC MUSIC (1660–1700)
- CHAPTER VIII THE PERIOD OF PATRIOTIC SONGS (1701–1800)
- CHAPTER IX THE NINETEENTH CENTURY
- APPENDIX
- INDEX
CHAPTER VII - THE PERIOD OF FOREIGN INFLUENCE, AND OF DRAMATIC MUSIC (1660–1700)
Published online by Cambridge University Press: 29 August 2010
- Frontmatter
- PREFACE
- Contents
- CHAPTER I BEFORE THE INVENTION OF COMPOSITION
- CHAPTER II THE INVENTION OF POLYPHONY (1400–53)
- CHAPTER III THE PERIOD OF THE INVENTION OF INSTRUMENTAL COMPOSITION (1453–1536)
- CHAPTER IV THE REFORMATION: FROM THE DISSOLUTION OF THE MONASTERIES TO THE DEFEAT OF THE ARMADA (1536–88)
- CHAPTER V THE MADRIGALIAN PERIOD (1588–1630)
- CHAPTER VI THE AGE OF THE DECLAMATORY SONGS, OF THE FANCIES FOR VIOLS, AND OF THE SUPPRESSION OF ECCLESIASTICAL MUSIC (1630–1660)
- CHAPTER VII THE PERIOD OF FOREIGN INFLUENCE, AND OF DRAMATIC MUSIC (1660–1700)
- CHAPTER VIII THE PERIOD OF PATRIOTIC SONGS (1701–1800)
- CHAPTER IX THE NINETEENTH CENTURY
- APPENDIX
- INDEX
Summary
CHARLES II entered London on May 29th, 1660; and on the third Sunday after, June 17th, Pepys noted in his diary, “This day the organs did begin to play at Whitehall before the King.” Three Sundays later, Pepys himself attended, and for the first time in his life heard a service with the organ and surpliced choir. On Nov. 4th he heard the organ in Westminster Abbey. There was a rush to erect instruments in the cathedrals; Magdalen College received back the organ in which Cromwell had delighted, and which was at a later period sold to Tewkesbury Abbey, where some of it is still in use. John Loosemore built a temporary organ at Exeter, completing the permanent one in 1665. Dallams, Thamar of Peterborough, and Preston of York, were all busily occupied; John Taunton in 1662 contracted for the organ at Wells; Harris, an old organ-builder who had been on the Continent, returned, bringing his son Réné (Renatus); and a German, Bernhard Schmidt (Father Smith) was already in England. Renatus Harris and Father Smith were subsequently bitter rivals. The cathedral and collegiate churches were soon provided with instruments, which, however, were, like the older English organs, small and without pedals. Parish churches in general remained organless; even in Queen Anne's time the existence of an organ was considered to denote a leaning to the High Church party, and not till the Oxford Movement of the 19th century was one usually seen in a village church.
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- Information
- History of English Music , pp. 306 - 365Publisher: Cambridge University PressPrint publication year: 2009