Thomas Morley (1557-1602) was a composer in London at the time of Shakespeare, influential in developing the madrigal- secular text settings with vivid word painting. His Canzonets are ‘mini madrigals’, mostly light and melodic, characterised by lively syncopation, imitation and interplay between the two voices. The English fantasia, instrumental equivalent of the madrigal, is an imitative piece; first one idea, then another is passed around the ensemble, according to the 'fantasy' of the composer. Henry Purcell (1659-1695)'s Fantazias for viol consort are in this old polyphonic tradition, but at the same time, strikingly modern, with unexpected harmonic twists. An Italian influence came through Nicola Matteis. Originally from Naples, he was one of the first Italian violinists to come to England, and a contemporary of Purcell in London. Many of his Ayres for The Violin are French dances, but the fantasias for solo violin are of an Italianate style. This style of fantasia, with free ornaments and improvisatory runs and arpeggios (stylus fantasticus) would later inspire the solo violin sonatas and partitas of Bach. With James Hewitt (violin), Xiangji Hewitt (violin / viola) and Claudia Velez (violone)