3:^4 Sir Frederick Bridge [March 18, 



This was no doubt sung to this fine old tune. 



In the case of the dance and the song I have arranged the words 

 for rive voices to the music written for the viols. But of course the 

 Melody only may lie sung — the other parts heing in the accompani- 

 ment which is arranged from the score for viols. 



In the three Fancies which I have scored there are nearly 150 

 different Cries, and itinerant vendors' songs. All three composers 

 have used some of the Cries, and two out of the three a great 

 number. It is extraordinary what a collection it makes. There are 

 thirteen different kinds of fish, but the Cries are very similar in 

 some cases. 



18 Different kinds of Fruit. 



6 Kinds of Liquors and Herbs. 



11 Vegetables. 



14 Kinds of Food. 



14 Kinds of Household Stuff. 



13 Articles of Clothing. 



9 Tradesmen's Cries. 



19 Tradesmen's Songs. 



4 Begging Songs for Prisoners and Bedlam. 



1 Town Crier. (Used by all three composers.) 



5 "Watchman's Songs. 



(AVeelkes illustration was given here.) 



The work of Gibbons is longer and more elaborate than "Weelkes', 

 and it is particularly interesting to find it in the form of an In 

 Nomine ! Perhaps I need not explain to this audience what an 

 In Noruine is. But I might just say it is a form of Fancy which 

 contained in one part a Plain-song Melody. It is wonderful how 

 these old composers worked their florid parts round the steady-going* 

 part of monotonous Plain-song. I have had several performed at my 

 Gresham Lectures, but they have all been for instruments only. Now 

 here is one in which the inner viol part plays the Plain-song (a bit of 

 ecclesiastical music), while the vocal parts are exclusively composed 

 of the old Cries. Perhaps I had better quote old Roger North, who 

 seems, I think, to give a more lucid account of the In Nomine than 

 other writers. He says, " Before the introduction of Fancies whole 

 Consorts for instruments of 4, 5 and G parts were solemnly com- 

 posed, and with wonderful art and variation, while one of the parts 

 (commonly in the middle) bore only the Plain-song throughout, and 

 I guess that in some time little of other Consort music was coveted 

 or in use." But that which was styled " In Nomine " was yet more 

 remarkable, for it was only descanting upon seven notes with which 

 the syllables " In Nomine Domini " agreed. And of this kind I 

 have seen whole volumes of many parts. 



This, then, is the form of Gibbons. The opening of Gibbons is. 

 very picturesque. "We feel we are in the eruiet street in the very 



