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the otherwise unknown Carle, the former contributed three and the latter two extremely brief, straightforward pieces for viola d'amore (Carle's pieces also with a violin) and gamba or cello accompaniment to a publication of 1789 that was clearly aimed at the domestic amateur market. 46 Esser's pieces consist of an Andante zampognato of 28 bars including da capo and a 16-bar Allegro, both in D, followed by an F major Alla Pollacca of 28 bars with da capo; Carle's consist of a 22-bar Andante and a Menuetto & Trio (16+20 bars), all in E major. The composer who perhaps merits most serious attention at this point is the organist and essayist William Jackson of Exeter (1730-1803), 47 whose song 'When fond, you Damon’s charms recite', Op. 16 no. 7, of c1793 for solo voice with obbligato viola da gamba and a figured bass continuo accompaniment (labelled 'violoncello or pianoforte') 48 may be the last eighteenth-century work with a part for 'Viola di Gamba' published in England. 49 The gamba is prominent not only during the introduction and postlude but also at times alongside the voice. The figurations employed are relatively adventurous, with a considerable amount of double-stopping, although other idiomatic gamba techniques such as bariolage may well have been considered out of place in this relatively simple stil galant song (see Examples la and 1b). The song's publication demonstrates that there must still have been some demand, at least at the upper ability level, in the amateur market for music involving the viola da gamba in England at that time, although it might well have been composed for initial performance by a professional gambist. Though far from straightforward, the obbligato part lacks the virtuoso nature of most gamba solo and ensemble music written by or for professional musicians of the period, all of which appears to have circulated purely in manuscript due to the comparatively small number of performers possessing that level of expertise. 46 Musikalische Real-Zeitung far das Jahr 1789, ed. H. Bossler (Speyer 1789; repr. Hildesheim, 1971), 140, 143, 144-6 (this publication appeared in regular instalments between 1788 and 1790; the three-volume 1971 reprint is of each of the three collected annual volumes). Esser's and Carle's pieces are in the second volume (dated JulyDecember 1789) of the second section, 'Anthologie fur Kenner and Liebhaber der Tonkunst'. See also notes 55 and 58. The present author's edition of all five pieces has been published by the Viola da Gamba Society. 47 Grateful thanks are due to Dr Peter Holman both for supplying me with details of this song and for alerting me to the existence of the anonymous Mozart arrangement discussed below. In his Observations on the Present State of Music in London (1791) Jackson attacked the continued adoration in England of Handel's music to the detriment of native-born composers. In such conservative conditions, it is perhaps unsurprising that the viola da gamba shoul4 have continued to be cultivated there until at least the end of the century. 48 GB-Lbl G.362 (4): Twelve Songs Composed by William Jackson, of Exeter. Opera XVI: entered at Stationers' Hall 25 January 1793, by the publishers Longman and Broderip. The present author's edition of this song has been published by the Viola da Gamba Society. 49 I. Woodfield and L. Robinson. 'Viol' (section 4), Grove, XXVI, 675.
[45] Considerable mystery surrounds an untitled anonymous manuscript arrangement for unaccompanied viola da gamba of the aria 'In diesen heil'gen
Page 1 and 2: The Journal of the Viola da Gamba S
Page 3 and 4: WHO WAS RICHARD GIBBON(S)? Pamela W
Page 5 and 6: [5] A. Hyatt King suggested in 1961
Page 7 and 8: Rooke); William Rooke, who was late
Page 9 and 10: Anthony Aucher in 1647, and settled
Page 11 and 12: Here we must look at the latest ref
Page 13 and 14: mention, lest being, as they are, d
Page 15 and 16: mentioned, the music books apart fr
Page 17 and 18: [18] HOW LONG IS A PIECE OF STRING?
Page 19 and 20: inches marked on a rule that was pr
Page 21 and 22: knowledge that people of Simpsori s
Page 23 and 24: which was an attempt to overcome th
Page 25 and 26: 'antique'. Old English viols were h
Page 27 and 28: materials of which instruments are
Page 29 and 30: Jenkins' gravestone proclaims that
Page 31 and 32: 1646 'one old violl'. Philip Rixon,
Page 33 and 34: [36] THE VIOLA DA GAMBA, ITS REPERT
Page 35 and 36: is, however, unlikely, given the re
Page 37 and 38: 'Viola da Gampa' [sic], has reveale
Page 39 and 40: the presence of King Friedrich Wilh
Page 41 and 42: like, in five movements, whilst the
Page 43: together here. Some of their indivi
Page 47 and 48: [47] A mystery in relation to the v
Page 49 and 50: da gamba, that remnant of the old c
Page 51 and 52: the sole exception of Abel, althoug
Page 53 and 54: concerto but the gamba in his trio
Page 55 and 56: The fact that a number of German ar
Page 57 and 58: The author (drhodes@wit.ie) has pre
Page 59 and 60: us down blind alleys in understandi
Page 61 and 62: For those who want to follow up spe
Page 63: [3] A sett of Musick in four Books

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