The Spread of the Sonata in England, 1660-1710
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The introduction of sonata, a new instrumental genre from Italy brought a considerable change in English musical life during the Restoration period. Though the adoption process was gradual, sonata became the main genre to which English composers as well as music lovers turned their interests. The influence of the Italian sonata in English music can be found in John Jenkins’s late fantasias written in the 1660s. When the Italian style became fashionable in England, composers such as Henry Purcell and his contemporaries did not hesitate to write this rather new genre imitating Italianate features. The English provenance music collections of the seventeenth century−assembled in England or on the Continent−show that sonatas became well known and received among various musical circles from London to the countryside after 1680. The main collections on which I have focused in this paper show that works that circulated widely were not confined to sonatas by Italian composers but also included sonatas from German-speaking countries. It also reveal that the Italian sonata collections were introduced in England not long after their publications in Italy so that they soon became available and circulated among English musical circles. The sonatas purchased seem to have been used for performance in musical circles to which the music collections belonged. The seventeenth-century manuscript copies and prints of Italian sonatas in English music collections also show that the spread of the sonata in England began to be established during the Restoration period (1660-1710).
Abstract
The introduction of sonata, a new instrumental genre from Italy brought a considerable change in English musical life during the Restoration period. Though the adoption process was gradual, sonata became the main genre to which English composers as well as music lovers turned their interests. The influence of the Italian sonata in English music can be found in John Jenkins’s late fantasias written in the 1660s. When the Italian style became fashionable in England, composers such as Henry Purcell and his contemporaries did not hesitate to write this rather new genre imitating Italianate features. The English provenance music collections of the seventeenth century−assembled in England or on the Continent−show that sonatas became well known and received among various musical circles from London to the countryside after 1680. The main collections on which I have focused in this paper show that works that circulated widely were not confined to sonatas by Italian composers but also included sonatas from German-speaking countries. It also reveal that the Italian sonata collections were introduced in England not long after their publications in Italy so that they soon became available and circulated among English musical circles. The sonatas purchased seem to have been used for performance in musical circles to which the music collections belonged. The seventeenth-century manuscript copies and prints of Italian sonatas in English music collections also show that the spread of the sonata in England began to be established during the Restoration period (1660-1710).
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