13 Titles - Viola da Gamba Society

manuscript in the Oxford Music School collection, MS. Mus. Sch. F. 573. Itcontains a varied selection of music for bass viol solo, for two bass viols and(apparently) for violin and continuo and two violins, as well as a centralsequence of fifty-five pieces in a chordal style for unaccompanied violin.The main copyist, who also wrote most of a companion collection of solobass viol music, MS. Mus. Sch. F. 574, seems to have been a Dutchspeakingmusician working around 1690; he uses Dutch titles (‘AllemandAmbsterdamb’ and ‘Variatio Van de Sarabande’), Dutch forms of Englishnames (11. Jenckens’ and ‘Youngh’) and he copied a sizeable amount ofmusic by the Dutch viol-player Philip Hacquart (b. 1645), younger [27]brother of the better-known Carel Hacquart. 68 Nevertheless, this person alsoseems to have had connections with England. Not only are his two musicbooks now in the Bodleian Library, but, as Gordon Dodd has shown, the fiftyfiveunaccompanied violin pieces are mostly not original violin works at all, butarrangements made from the English lyra-viol repertory from around 1660. 69Nearly two-thirds of them appear to be by either John Jenkins, CharlesColeman or Dietrich Stoeffken, though there are also a few pieces by PhilipHacquart, Christian Herwich and William Young, as well as an arrangement,possibly made from an intermediate lyra-viol version, of the popular‘Allemande Mazarini’ by the French composer Germain Pinel. 70It is surprising that no-one appears to have considered F. 573 as a source ofBaltzar’s music, since Jenkins, Coleman and Stoeffken were all colleagues ofBaltzar in the early Restoration Private Music, and the sequence of solo violinmusic is even headed by an elaborately chordal C minor piece entitled‘Preludium T. B.’. A comparison with the longer of the two preludes in TheDivision-Violin leaves no doubt that it is genuine Baltzar: both start with almostthe same point of imitation, they use very similar types of figuration en route,including Baltzar’s favourite written-out measured trills, and they both closewith a cadence using or implying a tonic pedal:68 Pieter Andriessen: Carel Hacquart (±1640-1701?) (Brussels, 1974), pp. 18-2069 Gordon Dodd: ‘Matters Arising from Examination of Lyra-viol Manuscripts’, Chelys, ix(1980), pp. 23-7; an inventory of the solo violin pieces in F. 573 is in Chelys, x (1981), pp.40-1. Four of the arrangements of lyra-viol pieces by John Jenkins are edited by GordonDodd in the Supplementary Publications of the Viola da Gamba Society, no. 144 (London,1982).70 See the list of sources compiled by Tim Crawford in The Lute, xxiii, part 1 (1983), p. 32.