Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Ives [Ive, Ivy], Simon

(bap. Ware, Herts., 20 July 1600; d London, 1 July 1662). English string player, singer and composer. He was probably the ‘Simon a musician boy’ who was taught by Innocent Lanier in the Cecil household (Hatfield House) in 1609. He may also have been associated with Sir Henry Fanshawe's household at Ware Park, where John Ward worked between about 1607 and 1616; there are several connections between the music of the two composers. He had relatives in Earl’s Colne, Essex, was living there in 1625, and may be the ‘Simon Ive’ who became a supernumerary Groom of the Chamber at court in April 1630. Shirley’s masque The Triumph of Peace, to which he contributed music, was given by the Inns of Court (1634), and some of the dedications of his lyra viol pieces suggest he moved in London's legal circles. He also wrote songs for Henrietta Maria's visit to Thomas Bushell's estate at Enstone on 23 August 1636; their texts were published that year in Oxford. About that time he contributed a story to Sir Nicholas Le Strange's Merry Passages and Jests; another story in the collection concerns his friendship with the poet Francis Quarles.

He became a London wait for ‘song and music’ in 1637 and was still serving in 1645. According to Anthony Wood, he was ‘a singing man in the Cath[edral] Ch[urch] of St Paul in London and a teacher of musick before the Rebellion broke out, after it did break out [he] left his singing mans place, and stuck to his instruction in musick w[hi]ch kept him in a comfortable condition’. He may have taught Anne Cromwell, the protector's first cousin, whose virginal book contains at least 12 pieces by him, and he is listed as one of Susanna Perwich's teachers in John Batchiler's The Virgin's Pattern (London, 1661). In 1661 he became a minor prebendary of St Paul's. In his will he left his colleagues a chest of nine viols (five trebles, three tenors and a bass) by Thomas Aldred, a bass viol made by his servant Muskett, and a ‘set of Fancies and Innomines of my owne Composition of foure five and six partes’.

Ive's vocal music mostly consists of convivial catches or simple dance songs, though the dialogue Shepherd, well met, I prithee tell shows that he was capable of deeper things. He also wrote fine three-part elegies on the death of William Lawes and the barrister and writer William Austin (d 1634). Anthony Wood wrote that he was ‘excellent at the Lyra-Viol and improved it by excellent inventions’; about 90 pieces for one, two and three lyra viols survive, though some of the solos and duets probably have missing parts, and some of the constituent parts of the duets and trios actually circulated as solos. His bass viol duets are in the tuneful, dance-like idiom established by Ward. The 25 four-part dances, which appear as a set in the British Library, may have been put together for musicians at the Blackfriars Theatre. They include arrangements of pieces by Ward, ‘J.L.’ (? Innocent Lanier) and ‘H.B.’ (? Hieronymus or Jerome Bassano), as well as a version of the famous coranto that Bulstrode Whitelocke composed with Ives's help; Whitelocke wrote in his memoirs that it was first played by the Blackfriars musicians, and that they struck it up every time he came to the theatre. Ives has been overshadowed by Lawes and Jenkins as a consort composer, though his dances and fantasias are consistently graceful, tuneful and attractive.

His son, also called Simon (bap. Earle's Colne, Essex, 17 June 1625; d ? before 1 July 1662), was a viol player and composer. He was at school in Islington in the 1630s, and took the BA degree at Trinity College, Cambridge, in 1648. He was not a beneficiary of his father's will, so he probably died before him. Three lyra viol pieces by him are known (Musick's Recreation: on the Lyra Viol, RISM 1652⁷; GB-Mp).

WORKS

vocal

Almighty and everlasting God (anthem), music lost, text in J. Clifford: The Divine Services and Anthems (London, 1663)

Lift up your hearts, canon, 3vv, 1652^10

Sad clouds of grief, elegy for W. Austin, 3vv, GB-Och

Lament and mourn, elegy for W. Lawes, 3vv, 1648^4

Shepherd, well met, I prithee tell, dialogue, 2vv, F-Pn, ed. in MB, xxxiii (1971)

5 songs, 1659^5, Select Ayres and Dialogues (London, 1669), GB-Eu, Lbl, US-NYp, 2 ed. in MB, xxxiii (1971)

7 catches, 3–6vv, 1652^10, 1667^6, 1673^4, 1685^4

Songs for The Triumph of Peace (masque, J. Shirley), 1634, lost

Songs for entertainment at Enstone (1636), lost

instrumental

c90 pieces, 1, 2, 3 lyra viols, 1651^6, 1652^7, 1661^4, 1669^6, 1682^9, incl. arrs. of pieces by J. Ward and B. Whitelocke, 5 ed. A.J. Sabol, Four Hundred Songs and Dances from the Stuart Masque (Providence, RI, 1978, enlarged 2/1982)

10 airs, 2 b viols, GB-Lbl, US-NH, 9 ed. G. Sandford (Albany, CA, 1991, 2/1994)

3 airs, a 2, GB-Lbl, 1 ed. M. Lefkowitz, Trois masques à la cour de Charles 1er d'Angleterre (Paris, 1970)

5 airs, a 3, Lbl, Ob, Och, 2 ed. in Lefkowitz

Pavan, a 4, Lcm (frag.)

25 dances, a 4, D-Kl, EIRE-Dm, GB-Lbl, Lcm, Ob, Och, US-NYp, incl. arrs. of pieces by J. Ward, ? I. Lanier, ? J. Bassano, B. Whitelocke, 9 ed. in Lefkowitz, 3 ed. in Sabol

4 fantasias, a 4, EIRE-Dm, GB-Lbl, Ob, Och, US-NYp, ed. S. Beck (New York, 1947)

In Nomine, a 5, EIRE-Dm, GB-Lbl, Ob, Och, also attrib. W. Cranford

3 fantasias, a 6, EIRE-Dm, GB-Ob, 1 ed. G. Dodd (London, 1969)

12 or more pieces, arr. kbd, in A. Cromwell's virginal book (MS, 1638, Museum of London; ed. H. Ferguson, London 1974)

4 pieces, kbd, F-Pn, GB-Lbl, arrs. by ? B. Cosyn of consort pieces or songs by Ives, ed. O. Memed, Seventeenth-Century English Keyboard Music: Benjamin Cosyn (New York, 1993)

2 pieces, arr. cittern, 1666^4

BIBLIOGRAPHY

AshbeeR, iii

BDA

DoddI

SpinkES

P.A. Scholes: The Puritans and Music in England and New England (London, 1934/R)

C.L. Day and E.B. Murrie: English Song-Books 1651–1702: a Bibliography (London, 1940)

W.L. Woodfill: Musicians in English Society from Elizabeth to Charles I (Princeton, NJ, 1953/R)

R. Charteris: ‘Jacobean Musicians at Hatfield House, 1605–1613’, RMARC, no.12 (1974), 115–36

H.P. Lippincott, ed.: ‘Merry Passages and Jests’: a Manuscript Jestbook of Sir Nicholas La Strange (1603–1655) (Salzburg, 1974)

P. Holman: ‘The “Symphony”’, Chelys, vi (1975–6), 10–24

J.D. Shute: Anthony à Wood and his Manuscript Wood D 19 (4) at the Bodleian Library, Oxford (diss., International Institute of Advanced Studies, Clayton, MO, 1979)

F. Traficante: ‘Procrustean Pairing of Sentimental Tune: a Seventeenth-Century English Strophic Song’, Essays in Musicology: a Tribute to Alvin Johnson, ed. L. Lockwood and E.H. Roesner (Philadelphia, 1990)

I. Spink, ed.: Music in Britain: The Seventeenth Century (Oxford, 1992)

P. Holman: Four and Twenty Fiddlers: the Violin at the English Court 1540–1690 (Oxford, 1993, 2/1995)

A. Ashbee and P. Holman, eds.: John Jenkins and his Time: Studies in English Consort Music (London, 1996)

P. Walls: Music in the English Courtly Masque, 1604–1640 (Oxford, 1996)

PETER HOLMAN