Twelve Good Musicians

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yal, he was an experienced Church musician. He left many Anthems, which are preserved in MS. in various Libraries; and he contributed 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 i

f 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

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

given by Weelkes i

ancy is very charming an

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All

r is not only rather dull and prolonged but includes a little deviation into vulgarity, and so is hardly

of them is complete. But having been so fortunate as to fin

s great contemporaries, and I think all lovers of Shakespeare will be glad to make acquaint

vestigations 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 eloque