Quantum redactiones paginae "Matthaeus Locke" differant
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Locke, [[Exonia]]e [[dies|die]] ignoto natus, in [[chorus|choro]] [[Ecclesia Cathedralis Sancti Petri Exoniae|Cathedralis Exoniae]] ab [[Eduardus Gibbons|Eduardo Gibbons]] [[frater|fratre]] [[Rolandus Gibbons|Rolandi Gibbons]] edoctus est. Anno aetatis suae duodevicensimo, [[Nederlandia]]m profectus est, ubi se eo tempore ad [[Ecclesia Catholica Romana|Catholicismum Romanum]] fortasse traduxit.
Locke et [[Christophorus Gibbons]], [[filius]] Rolandi, [[partitura]]m composuerunt pro ''[[Cupid and Death]],'' [[ludus personatus|ludo personato]] [[Iacobus Shirley|Iacobi Shirley]] (1653).<ref>"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 [[Carolus Burney|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).</ref> Partitura huius operis est sola superstes [[ludus scaenicus|ludi scaenici]] [[Aetas Baroca (musica)|illius aetatis]] musica (Caldwell 1999:555). Locke fuit unus ex [[quinque]] compositoribus Anglicis qui [[musica]]m composuerunt pro ''[[The Siege of Rhodes]]'' [[Gulielmus Davenant|Gulielmi Davenant]] [[Eques|Equitis]] (1656), prima [[opera]] Anglica saepe appellata.<ref>Alii fuerunt Carolus Coleman, [[Henricus Cooke]], Georgius Hudson, et [[Henricus Lawes]].</ref> Locke [[musica]]m ''[[The Cruelty of the Spaniards in Peru]]'' (1658) et ''[[The History of Sir Francis Drake]]'' (1659), posteriorium [[opera]]rum Davenantianarum, composuit.<ref>Susan Treacy, in Baker 2002:237.</ref> Musicam [[pompa]]e processionalis [[coronatio|impositionis diadematis regi]] [[Carolus II Angliae|Carolo II]] composuit.<ref>{{
''Melothesia,'' Lockianus [[liber]] de [[theoria musicae]], anno [[1673]] prolatus est. Pagina titularis [[scriptor|auctorem]] appellat "Composer in Ordinary to His Majesty, and organist of her Majesty's chapel." Hi [[monarcha|monarchae]] fuerunt [[rex]] [[Carolus II Angliae]] et [[uxor]], [[regina]] [[Catherina de Braganza]]. Locke etiam pro compositore musicae [[ventus|ventorum]]<ref>[[Anglice]]: ''music for the King's sackbutts and cornets.''</ref> et compositore musicae [[violina]]rum fuit. Successor in munere illo fuit [[Henricus Purcell]],<ref>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.'"</ref> quem [[adulescentia|adulescentem]] Locke, amicus [[familia]]e Purcellianae, probabiliter movit.<ref>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."</ref> Anno [[1675]], musicam ''[[Psyche (Locke)|Psyche]]'' ludi [[Thomas Shadwell|Thomae Shadwell]] composuit.
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[[Categoria:Compositores Britanniae]]
[[Categoria:Nobiles Capellae Regalis]]<!--Gentlemen of the C. Royal-->
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