Fiddlers Three: Charles II's 'Private Musick'

At the restoration of the monarchy in 1660, Charles II reappointed many of the court musicians who had served his father. Yet, years in exile in France had changed his own tastes and preferences, and this influenced the reformed musical organisations and the music written for them. This period saw the decline in consorts of viols and winds, and the emergence of the violin as the instrument of choice. The arrival in England of German virtuoso violinist Thomas Baltzar had an undoubted impact on the direction of the musical landscape and the flourishing of the unusual combination of three violins and continuo for court ensembles. His masterful Suite in C led to a small flourishing of works for the same forces, by Mattes, Finger, and (undoubtedly the crowning achievement of the genre) Purcell.

Purcell - Fantazia: Three Parts Upon a Ground, Z731
Jenkins - Fantasia Suite no. 4 in A minor
Anon - Divisions on I am the Duke of Norfolk
Baltzar - Pavan in C major
Purcell - Pavan in G minor, Z749
Peitkin - Sonata in D
Matteis - Ground in D minor

Musical & Amicable Society:
Kate Fawcett, Catherine Martin and Anna Palmer - violin
Jonathan Rees - bass viol and bass violin
Lynda Sayce - theorbo and guitar
Aileen Henry - triple harp
Martin Perkins - harpsichord and organ