In the previous Lecture I have mentioned Thomas Weelkes, and now turn for a short space to this distinguished composer. As I have said before, I do not profess to include all the great English musicians of the 17th century in this short series of Lectures, and Weelkes is selected, not only as being greatly superior to many others, but because he has given us something original in the shape of combined Instrumental and Vocal work, in addition to his valuable contributions to the Madrigal School. Of this I must speak later. As a Madrigal-writer he is notable as one of the "glorious company" of contributors to _The Triumphs of Oriana_. Although little of his Church music is published, yet as Organist of Chichester Cathedral and, as a member of the Choir of the Chapel Royal, he was an experienced Church musician. He left many Anthems, which are preserved in MS. in various Libraries; and he contributed {30} two pieces to Leighton's _Teares and Lamentations of a Sorrowful Soul_. In his _Fancies for Strings_ he displays a very fertile imagination. I have had some of his _Fancies_ performed at my various Lectures, and have found them remarkable for melodic interest and very advanced as regards Harmony. His instrumental writing is surprising; and, when one compares his Fancies with those by Orlando Gibbons, one is astonished at the novelty of his ideas. As will be seen later I shall have much to say in connection with Gibbons, Deering, and Purcell in regard to the Fancy. But I may as well at once explain that this was the form which was supreme in the early days of the 17th century as a vehicle for Instrumental writing. An enormous number of these compositions exist, and it was not until Purcell's time that the Fancy disappeared--being supplanted by the Sonatas for three strings and a Basso Continuo. It was a form which helped on the progress of writing for Instruments in a wonderful way. "Apt for Voices and Viols" was the usual title-page which composers loved. But, when the Fancy developed, the writing was far too elaborate to be "apt for voices," and so we get the independent instrumental Fancy. It was, as a rule, a work of some considerable length, and, while full of variety, it was lacking in {31} any real development. The composer indulged his "Fancy," and wandered from point to point at his own sweet will.