Note 32 — OSCAR BIE
E. E. (Ernest Edward) Kellett translation
The author here makes a startling leap of a century or so in his chronicle of English composers. From Munday, who was a grown man in 1586, he suddenly goes to Blow and Purcell, who flourished in 1690, and even mentions Arne in the same breath, who died in 1778.
The “isolation” of the early English clavier school is fairly explained by the immense amount of attention that was now given, from 1600-1695, in England, to the development of the dramatic scena or cantata, for one or two voices, to the song, and to the cultivation of concerted music for strings and keyed instruments. It is only to prevent any one from supposing that there was no “secular” music in England between the days of Elizabeth and the coming of Purcell that I give a few names, all of which have a real claim to remembrance. Songs—Campion (flourished 1600), Johnson (1600), Cæsar (early 17th cent.), Cooper (1612), Laneare (1620), H. Lawes (1630), Wilson (1640). Cantatas or “Scenas”—H. Lawes (1630), C. Colman (1640). Instrumental music—Gregorie (mid. 17th cent.), Jenkins (1630), W. Lawes (1630), Lock (1650), Sympson (1660).