In 1683 appeared Purcell’s Twelve Sonatas for two violins and a bass, the very same year in which Corelli published his “Twelve Sonatas” (Op. 1).  In his preface, Purcell frankly admits that “he has faithfully endeavoured a just imitation of the most famed Italian masters.”  Sir J. Hawkins supposes that “the sonatas of Bassani,[108] and perhaps of some other of the Italians, were the models after which he formed them.”  In our introductory chapter we mentioned the sonatas ("a due, tre, quattro, e cinque stromenti”) by Vitali (1677); and of these, Mr. J.A.  Fuller-Maitland, in his preface to the Purcell Society edition of the “Twelve Sonatas” of 1683, remarks that “it is difficult to resist the conclusion that these were the Englishman’s models.”  Vitali undoubtedly exerted strong influence; yet Purcell himself describes his “Book of Sonatas” as “a just imitation of the most fam’d Italian Masters.”  These sonatas of 1683, also the ten which appeared after his death (among which is to be found No. 9, called the “Golden Sonata”) in 1697, are of great importance and interest in the history of English music, but there is no new departure in them; this, at any rate in the earlier ones of 1683, is fully acknowledged by the composer.

In 1695, John Ravenscroft, a descendant, possibly, of Thomas Ravenscroft, published at Rome, sonatas for “violini, e violine, o arciliuto, col basso per l’organo” Opera prima, but they were mere imitations of Corelli.[109] In 1728 a certain John Humphries published by subscription “Twelve Sonatas for two violins and a bass”; and Hawkins, in his History, excites curiosity by declaring that they are “of a very original cast”; he adds, however, “in respect that they are in a style somewhat above that of the common popular airs and country dance tunes, the delight of the vulgar, and greatly beneath what might be expected from the studies of a person not at all acquainted with the graces and elegancies of the Italians in their compositions for instruments.  To this it must be attributed that the sonatas of Humphries were the common practice of such small proficients in harmony as in his time were used to recreate themselves with music at alehouse clubs and places of vulgar resort in the villages adjacent to London; of these there were formerly many, in which sixpence, at most, was the price of admission.”  We have quoted this passage at length, because it indirectly confirms our statement concerning English music of this period.  If Hawkins had had anything better to talk about, he would not have wasted space on the music of alehouses and “places of vulgar resort.”  It may, however, be asked whether Hawkins’ report of Humphries’ music is trustworthy.  Now, although the sonatas offer nothing of special interest, we may certainly venture to say that one does not hear such well-written melodious strains in or near alehouses of the present day.  The sonatas consist, for the most part, of four short movements.  First, a slow introduction, then an