10092–Music for His Majesty's Sackbuts and Cornetts

Matthew Locke (1621-1677)

Arranged by Roger Harvey

Difficulty: Medium

Price: £20

Programme notes:
Matthew Locke was born in Devon and recieved his early musical training aas a chorister at Exeter Cathedral. He probably became known to the future Charles II who lived in Exeter for some time. In the 1650s he became well-known as a composer of music for the theatre. After the Common wealth he was awarded several Royal appointments including composer of the King's Wind Music. He was chosen to write music for Charles' coronation in April 1661 and although the vocal music is lost, some of the instrumental music, 'ffor His Majesty's Sagbutts and Cornetts' has survived. Due to his staunch partisan support for English music against encroaching foreign trends and occasional bitter tirades against the music establishment he was not the most popular musical figure. Though he was gradually moved into the background at court he continued to be in demand as a composer of dramatic music. He was admired by the young Henry Purcell who learned much from his dramatic and sacred music.
This suite contains 6 movements:
1. Air
2. Courante 1
3. Allemande 1
4. Courante 2
5. Allemande 2
6. Sarabande

Performance notes:
Trumpet 1 and 2 require piccolo trumpets
Trumpet 4 requires a flugel.
There are numerous stylistic suggestions in this edition which are given for convenience. If rehearsal time permits these can be altered to suit the musical taste of the performers; the suggestions given are more of a starting point that should give a good shape and style to the music but are not meant to be definitive.
Markings are to be considered as aids to a corporate sense of phrasing and should not be overplayed. Accents are more in the way of emphasis at a strong point in a phrase rather than a hard attack. Hairpins also suggest shape rather than any great change of dynamic. In general the style should be light and the texture never thick, even in the louder music.
Some ornamentation is suggested but the performers should feel free to make their own additions or alterations to these.