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Illus. 4: Cambridge, Fitzwilliam Museum, MU MS 647, p. 38. The probable hand of Edward Ferrar senior. Reproduced by permission of the Syndics of the Fitzwilliam Museum, Cambridge. 40
Illus. 5: Cambridge, Library of Mag<strong>da</strong>lene College, Ferrar Papers, Item 1554. Letter of Basil Ferrar to his brother Edward, 13 January 1693/4. Reproduced by permission of the Master and Fellows of Mag<strong>da</strong>lene College, Cambridge. ---------------- To sum up: MU. MS 647 is important not so much for the quality of its music, which ranges from the sublime (Purcell’s ‘Two in on upon a ground’ from Dioclesian) to the trivial or the incompetent, but for what it tells us about changing fashions in English gamba music in the early eighteenth century. It illustrates the change, also found in the repertories for other solo instruments at the time, from specially composed music in traditional genres to arrangements of pieces borrowed from the solo violin repertory, from theatre music, or from popular 41
Page 1 and 2: The Viola da Gamba Society Journal
Page 3 and 4: CONTENTS Editorial iv Manuscripts o
Page 5 and 6: Manuscripts of Consort Music in Lon
Page 7 and 8: Tenbury 369-74. 8 Both Bertenshaw a
Page 9 and 10: works come at the end of the copyin
Page 11 and 12: Coprario Fantasia 1 Coleman Fantasi
Page 13 and 14: The first and fourth of these are a
Page 15 and 16: 84 T. Lupo Fantasia 11 a 5 5 2 9 85
Page 17 and 18: sucking bee [i] 45v/52 Coprario Per
Page 19 and 20: mercantile life of London. 43 Pinto
Page 21 and 22: the tenor in 719. The latter hand m
Page 23 and 24: M990.C66.F4. 49 Pamela Willetts has
Page 25 and 26: fantasias, mostly composed in the s
Page 27 and 28: e Sung by Men as well as Boyes or W
Page 29 and 30: published in 1702. 28 One of these
Page 31 and 32: material and the long period over w
Page 33 and 34: Illus. 1: Cambridge, Fitzwilliam Mu
Page 35 and 36: seemingly using Eitner’s Quellen-
Page 37 and 38: Bass viol music - or at least music
Page 39 and 40: ---------------- It is now clear th
Page 41 and 42: Gidding in 1625. 65 Nicholas became
Page 43: will much oblige the whole Consort
Page 47 and 48: Appendix I: Inventory of Cambridge,
Page 49 and 50: octave; VdGS, Anon, no. 227. Possib
Page 51 and 52: 37 39, 40 ‘New Sebell’; C major
Page 53 and 54: ITEM XII. Format: folio sheet. Wate
Page 55 and 56: William Young, ‘Englishman’ STE
Page 57 and 58: At the end of the Thirty Years War
Page 59 and 60: Figure 1. Tiroler Landesarchiv, Kam
Page 61 and 62: Figure 2. Tiroler Landesarchiv. Kam
Page 63 and 64: Senn mentions Eitner’s citations
Page 65 and 66: English violists. 35 Maugars impres
Page 67 and 68: discontinuous. It may however be us
Page 69 and 70: after the Henrician Reformation, or
Page 71 and 72: its inclusion of the 32 Ayres and t
Page 73 and 74: C.82) copied probably in the late 1
Page 75 and 76: the organ parts of his two-violin s
Page 77 and 78: John Ward: Consort Music DAVID PINT
Page 79 and 80: The 4-part residue, harder to place
Page 81 and 82: may then have a partial incipit. Le
Page 83 and 84: Johann Christian Bach and even Mara
Page 85: The fourth sonata in D major contai

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