English composer who was on the fringe of the court in 1630s, and who wrote pastoral dialogues in the declamatory manner, but was in addition attracted to the tuneful partsong or glee, and is well represented in contemporary catch books. He has one or two pleasant songs to his credit. Two keyboard pieces in a MS in the British Museum by 'Yves', 'sett forth by B. Cosyn.'
He is also said to have been one of the London Waits in the mid 17th century.
Suite in G minor SIMON IVES [5'58]
Suite in C major SIMON IVES [3'40]
Bulstrode Whitelocke's Coranto
The Wagge SIMON IVES [1'51]
There were also some (I think) viol duets.
The Saraband appears to have come from a masque, in which it is preceeded by:
The SCENE becomes a woody Landscape, with low grounds proper for hunting, the furthest part more desert, with bushes and bye-ways representing a place fit for purse-taking.
In the furthest part of the scene is seen an ivy-bush, out of which comes an Owl.
Opin. A wood, a broad-faced owl,
An ivy-bush, and other birds about her!
Fan. These can imagination create.
It is followed by:
Enter a Merchant, a' Horseback with his portmanteau; two Thieves, set upon him and rob him ; these by a Constable and Officers are apprehended and carried off. Then four Nymphs enter dancing, with their javelins; three Satyrs spy them and attempt their persons; one of the Nymphs escapeth; a noise of hunters and their horns within, as at the fall of a deer; then enter four Huntsmen and one Nymph; these drive away the Satyrs, and having rescued the Nymphs, dance wirth them.
See also Notes & Queries entry
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