THIS chapter is concerned with English music during the reigns of the first two Stuart monarchs : James i ( James vi of Scotland) who acceded to the throne in 1603 on the death of Queen Elizabeth i, and Charles i who succeeded James i in 1625. The date 1642 is a convenient one at which to conclude, for although Charles i was not to die on the scaffold until 1649, 1642 represents the beginning of the Civil War, the King's forced withdrawal from London, and the effective closing down of the country's leading musical institutions. The chapter will concentrate unashamedly on London—not because there was a lack of music in the provinces, but because it was to London, and to the court in particular, that the country looked for the latest musical fashions. The foremost musicians and composers were attracted to London ; and the court system, which resulted in the constant movement of noblemen and their households to and from the city, undoubtedly aided the dissemination of music. We should not assume, however, that the high standard of music in London was necessarily replicated countrywide. It is fortuitous that, in beginning with the accession of James i in 1603, we can avoid using the date 1600—in traditional music-historiography the beginning of the Baroque era—for that date has no real significance for English music, and the term “Baroque” is rarely used in relation to the latter until the Restoration (1660).

English music in the first half of the seventeenth century, it is fair to say, was generally rather conservative in nature (certainly in comparison to some other parts of Europe), and its assimilation of Italianate “progressive” elements was relatively late and haphazard. This highlights one of the problems of the traditional Italiancentered historiographical construct. There is no doubt that, in terms of musical styles, many “Baroque” innovations began in Italy (even if, in reality, they evolved slowly in terms of performance practice rather than appearing suddenly in print) and that other European countries were influenced, at different times and to different degrees, by musical ideas of Italian derivation.