TY - BOOK

T1 - Maurice Webster: Complete Consort Music

A2 - Holman, Peter

A2 - Cunningham, John

N1 - All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher:

PY - 2010

Y1 - 2010

N2 - The five three-part (SSB) and nine four-part (SSTB) dances in this edition represent the complete surviving consort music of Maurice Webster. Several of Webster’s pieces were included in Thomas Simpson’s Taffel-Consort (Hamburg, 1621), one of the first collections in Europe to use the SSTB, or ‘string quartet’ scoring. Webster, a skilled composer with a distinctive style, appears to have been the main catalyst for introducing this scoring in dance music to England in the 1620s. The development of this idiom had a significant impact on the music of his contemporaries such as Simon Ives, Charles Coleman and William Lawes, who fully embraced it by the 1630s.Webster probably intended his pieces to be played by a six-part group of two violins, tenor viol or viola (for the four-part pieces), bass viol or bass violin, with two or three theorboes, but other combinations are possible. The theorboes can be omitted or be replaced by a keyboard, and the collection is also suitable for consorts of viols, recorders or cornetts and sackbuts.

AB - The five three-part (SSB) and nine four-part (SSTB) dances in this edition represent the complete surviving consort music of Maurice Webster. Several of Webster’s pieces were included in Thomas Simpson’s Taffel-Consort (Hamburg, 1621), one of the first collections in Europe to use the SSTB, or ‘string quartet’ scoring. Webster, a skilled composer with a distinctive style, appears to have been the main catalyst for introducing this scoring in dance music to England in the 1620s. The development of this idiom had a significant impact on the music of his contemporaries such as Simon Ives, Charles Coleman and William Lawes, who fully embraced it by the 1630s.Webster probably intended his pieces to be played by a six-part group of two violins, tenor viol or viola (for the four-part pieces), bass viol or bass violin, with two or three theorboes, but other combinations are possible. The theorboes can be omitted or be replaced by a keyboard, and the collection is also suitable for consorts of viols, recorders or cornetts and sackbuts.

KW - Maurice Webster; Consort music

UR - http://www.editionhh.co.uk/shop/item.aspx?itemid=490

M3 - Anthology

SN - 987-1-905779-44-4

BT - Maurice Webster: Complete Consort Music

PB - Edition HH

CY - Launton

ER -