Mathaeus Locke (ca. 1621–Augusto 1677) fuit Anglicus aetatis barocae compositor et theorista musicae.

Matthaeus Locke. Scalptura a Iacobo Caldwall facta.



Locke, Exoniae die ignoto natus, in choro Cathedralis Exoniae ab Eduardo Gibbons fratre Rolandi Gibbons edoctus est. Anno aetatis suae duodevicensimo, Nederlandiam profectus est, ubi se eo tempore ad Catholicismum Romanum fortasse traduxit.

Locke et Christophorus Gibbons, filius Rolandi, partituram composuerunt pro Cupid and Death, ludo personato Iacobi Shirley (1653).[1] Partitura huius operis est sola superstes ludi scaenici illius aetatis musica (Caldwell 1999:555). Locke fuit unus ex quinque compositoribus Anglicis qui musicam composuerunt pro The Siege of Rhodes Gulielmi Davenant Equitis (1656), prima opera Anglica saepe appellata.[2] Locke musicam The Cruelty of the Spaniards in Peru (1658) et The History of Sir Francis Drake (1659), posteriorium operarum Davenantianarum, composuit.[3] Musicam pompae processionalis impositionis diadematis regi Carolo II composuit.[4]

Melothesia, Lockianus liber de theoria musicae, anno 1673 prolatus est. Pagina titularis auctorem appellat "Composer in Ordinary to His Majesty, and organist of her Majesty's chapel." Hi monarchae fuerunt rex Carolus II Angliae et uxor, regina Catherina de Braganza. Locke etiam pro compositore musicae ventorum[5] et compositore musicae violinarum fuit. Successor in munere illo fuit Henricus Purcell,[6] quem adulescentem Locke, amicus familiae Purcellianae, probabiliter movit.[7] Anno 1675, musicam Psyche ludi Thomae Shadwell composuit.

  1. "When the masque as a regular court institution fell with Cromwell's rise to power, it was an overripe and doomed form. The Commonwealth did not interrupt the musical life as severely as Burney and others have claimed. Although stage plays were forbidden, musical shows passed the censorship and music in the homes of the urban middle classes flourished more than ever. Shirley's masque Cupid and Death (1653) was privately performed with music by Christopher Gibbons and Locke." Manfred F. Bukofzer, Music in the Baroque Era: From Monteverdi to Bach (Londinii: J. M Dent & Sons, 1948), 186).
  2. Alii fuerunt Carolus Coleman, Henricus Cooke, Georgius Hudson, et Henricus Lawes.
  3. Susan Treacy, in Baker 2002:237.
  4. Matthew Locke in The Catholic Encyclopedia: an international work of reference (Novi Eboraci: Appleton, 1907–1914) (Anglice)
  5. Anglice: music for the King's sackbutts and cornets.
  6. Margaret Campbell, Henry Purcell: Glory Of His Age (Oxoniae: Oxford University Press, 1995, ISBN 0-19-282368-X), 46: "his appointment on 10 September 1677 as 'composer in ordinary with fee for the violin to his Majesty, in the place of Matthew Lock(e), deceased.'"
  7. Campbell 1995:44: "The first mention is in Pepys diary: After dinner I back to Westminster-hall. . . . Here I met with Mr Lock(e) and Pursell, Maisters of Musique; and with them to the Coffee-house into a room next the Water by ourselfs. . . . Here we had a variety of brave Italian and Spanish songs and a Canon for 8 Voc:, which Mr Lock(e) had newly made on these words: "Domine salvum fac Regem," an admirable thing."


  • Baker, Christopher Paul, ed. 2002. Absolutism and the Scientific Revolution, 1600–1720: A Biographical Dictionary. Londinii: Greenwood Press.
  • Bukofzer, Manfred F. 1948. Music in the Baroque Era: From Monteverdi to Bach. Londinii: J. M Dent & Sons.
  • Caldwell, John. 1999. The Oxford History of Music: From the Beginnings to c. 1715. Oxoniae: Oxford University Press.
  • Campbell, Margaret.1995. Henry Purcell: Glory Of His Age. Oxoniae: Oxford University Press. ISBN 0-19-282368-X.
  • Harding, Rosamund E. M. 1971. A Thematic Catalogue of the Works of Matthew Locke with a Calendar of the Main Events of his Life. Oxoniae: Alden Press.

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