Ian Spink – författare
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The Restoration of Charles II stimulated one of the greatest triumphs of Anglican cathedral music. A group of gifted men, led by Henry Purcell, succeeded in transforming the carefully preserved and revived traditions of the Golden Age of Tudor and earlier Stuart periods into a contemporary style that vigorously embraces the idioms of the French and Italian Baroque. But although perhaps a dozen masterpieces of the period remain in the cathedral repertory, few of us can have had any idea of the riches and variety of music awaiting rediscovery.Ian Spink, a leading authority on seventeenth-century English music, has carried out a remarkable new investigation of the musical sources of the period and of the archives of every cathedral and choral foundation. The result is not only a largely unfamiliar picture of the musical life and circumstance of choral foundations, from the Chapel Royal to remote Carlisle, but also a fresh assessment of the music taking in not only the work of the great men of the age - Purcell, Locke, Handel - but also many lesser masters such as Humfrey, Blow, Clarke, Weldon, and Croft. For the first time, perhaps, the true character and shape of the Restoration period of musical history is revealed.
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Henry Lawes (1596-1662) has long been acknowledged as the most important and prolific English songwriter between the death of John Dowland in 1626 and the birth of Henry Purcell in 1659. He is celebrated as Milton's collaborator in Comus (1634). Although he wrote some church music, Lawess significance as a composer lies in his settings of many of the choicest lyrics by Cavalier poets such as Carew, Herrick, Suckling, and Waller–who, like Lawes himself, belonged to the brilliant court of Charles I. This book combines an account of his life with a study of his development as a songwriter during this fascinating historic period. Following the execution of the King in 1649, Lawes played an important part in establishing concerts in London during the 1650s, and was one of the composers of the first English opera, Davenant's The Siege of Rhodes (1656). At the Restoration he set Zadok the Priest for the coronation of Charles II, but died the following year. The last book on Lawes appeared in 1940, since when the importance of his songs has been increasingly recognized–thanks in part to Ian Spink's own previous study, English Song: Dowland to Purcell (1986), and his edition of Cavalier Songs: 1625-1660 for Musica Britannica.