The Violin and Old Violin Makers: Being a Historical & Biographical Account of the Violin, with Facsimiles of Labels of the Old MakersClarke, A. Mason
History
The Violin and Old Violin Makers: Being a Historical & Biographical Account of the Violin, with Facsimiles of Labels of the Old Makers
Clarke, A. Mason
Violin -- History; Violin makers
He goes on to relate that by 1656 he “had a genuine skill in musick, and
frequented the weekly meetings of musitians in the house of Will Ellis,
late Organist of St. Johns Coll., situated and being in a house,
opposite to that place whereon the Theatre was built.” Here he gives a
list of the company who met and performed their parts on lutes and
viols. The music masters were: “Will Ellis, Batchelor of Musick, and
owner of the house, who always played his part either on the organ or
virginal:—Dr. John Wilson, the public professor, the best at the lute in
all England. He sometimes play’d on the lute, but mostly presided
(directed) the consort.—Curteys, a lutenist, lately ejected from some
choire or cathedral church. Thomas Jackson, a bass violist.... Ed. Low,
Organist lately of Christ Church. He play’d only on the organ; so when
he played on that instrument Mr. Ellis would take up the counter-tenor
viol, if any person were wanting to perform that part. Gervace Littleton
... a violist; he was afterwards a singing man of St. Johns Coll. Will
Glexney, who had belonged to a choire before the warr ... he played well
upon the bass-viol, and sometimes sung his part.... Proctor, a young man
and a new comer. John Parker, one of the university musitians. But Mr.
Low, a proud man, could not endure any common musitians to come to the
meeting, much less to play among them. Of this kind I must rank John
Haselwood, an apothecary, a starch’d formal clister-pipe, who usually
played on the bass-viol, and sometimes on the counter-tenor. He was very
conceited of his skill (though he had but little of it) and therefore
would be ever and anon ready to take up a viol before his betters, which
being observed by all, they usually called him ‘Handlewood.’ The rest
were but beginners.
“Proctor died soon after this time, he had been bred up for Mr. John
Jenkyns, the mirrour and wonder of his age for musick, was excellent for
the lyra-viol, and division-viol, good at the treble-viol, and
treble-violin, and all comprehended in a man of three or four and twenty
years of age. He was much admired at the meetings, and exceedingly
pitied by all the facultie for his loss.”
Public-domain text, read in full here on John Shaqi.
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