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Chelys, vol. 7 (1977), article 3
eight, and William Lawes was not yet with us. So who made the first
substantial and definitive offering of a set of fantasies for viol consort?
My proposition is that Alfonso II made it, and that pride of place be
awarded to his set of twenty-odd fantasies in four parts.
Donington’s appraisal of this music, which originally appeared in the
fifth edition of Grove, was quoted by Vaught: 11
By far the most important of this Ferrabosco’s work consists of fantasies
and pavans for viols, particularly some of his numerous fantasies in four
parts, the best of which display an extraordinary quality of controlled
excitement coupled with great thematic invention and contrapuntal
mastery.
Another testimonial was written by Thomas Tomkins at the head of a
full score of a set of the four-part fantasies, in what is thought to be a
book kept for the instruction of his pupils: 12
Alfonso 4 pts. Fancyes to the Vyolls. All of them excellent good. But
made only for the Vyolls and organ wch is the reason that he takes such
liberty of compass wch he would have restrayned if it had bin for voyces
only.
Sources
There are at least 25 extant sets of books, mostly compiled after the
composer’s death. For his editions, Davidson selected the three best and
most authoritative sources. Tregian, 13 being the earliest source and the
only one known to have been compiled during the composer’s lifetime,
was the first choice. It is probable that Tregian knew Alfonso II, and had
an inkling of the composer’s intentions. Considering Tregian’s dates, the
most likely period of composition of the four-part fantasies is c.1610.
The second choice was the great set of books at Christ Church, Oxford,
which Pamela Willetts identified as having been compiled by John Lilly
and an associate. 14 Although this is a late source (c.1655) it is musically
well connected, and is the only one which has score, parts and organ
book (that ideal combination, perpetuated in our Jenkins editions)
complete. The [50] third choice was Tomkins’s instruction-book, from
which a quotation has been made; 15 its value lies in the fact that the music
was scored and appraised by a leading composer. Tomkins’s readings,
which make an interesting comparison with those of Tregian, should merit
an editor’s respect.
The Music
in opening a discussion of the four-part fantasies, Tomkins’s words are
useful.
11 Grove: op. cit., p. 68.
12 Lbl Add. MS. 29996.
13 Lbl Egerton MS. 3 , 565, vocal and instrumental score book.
14 Och MSS. 2, 397-408, 436. See P. J. Willets: ‘John Lilly, Musician and Music Copyist’,
Bodleian Library Record, vii (1967), p. 307-11.
15 Lbl Add. MS. 29996 16.