LOCK, MATTHEW, an English composer of great and deserved celebrity, was born in Exeter about 1635, and, as a chorister of the cathedral, was instructed in the elements of music by Wake the organist. He completed his studies under Edward Gibbons, a brother of the illustrious Orlando. The continuator of Baker's ' Chronicle' tells us that Lock was employed to write the music for the public entry of Charles IL; shortly after which he was appointed composer in ordinary to that king. His first publication was under the title of 'A Little Consort of Three Parts, for Viols or Violins,' consisting of pavans, ayres, sarabands, &c.; the first twenty for two viols and a bass. In Playford'a Catch that catch can' are glees, &c., by Lock, and among them that agreeable piece of vocal harmouy, Ne'er trouble thyself about Times or their Turnings.' Lock was the first English composer for the stage. He set the instrumental musio in the ' Tempest,' as performed in 1673; and in the same year he composed the overture, airs, &c. to Shadwell's Psyche,' which he published two years after, with a preface betrayiog strong symptoms of that irascible temper which subsequently dis played itself in very glaring colours ; first in a quarrel with the gentlemen of the chapel-royal ; and next, in his opposition to a plan proposed for a great improvement in musical notation by the Rev. Thomas Salmon, A.M., of Trinity College, Oxford. The abusive and bitter terms in which he expressed himself in a pamphlet, entitled Observations on a late Book called an Essay,' &c., which is an
answer to Salmon's proposal, are at once a distinct proof of Lock's uncontrolled violent disposition, and either of his utter incapability of justly estimating a plan which would have proved highly beneficial to the art, or of his selfishness in opposing what he may have thought likely to militate against his personal interests. His reeist ance, backed by his prejudiced brethren, was unfortunately successful, and an opportunity was lost of accomplishing with ease that which every year's delay renders more difficult to effect, though ultimately, and at no distant period, the amelioration suggested by the above named mathematician, or a still more complete and decided one, will be forced on the professors of music.
Lock contributed much to the musical publications of his day. His sacred compositions, some of which appear in the 'Harmonia Sacra,' and iu Boyce's Collection of Cathedral Music,' are quaint, Lhou3h they show that he was a mater of harmony. But his 'Music in Macbeth,' a work evidencing at once great creative power and ripened judgment, is that on which his fame was built, and which will float his name down the stream of time. Lock died in 1677, having a few years before become a member of the Roman Catholic Church. As a consequence of his conversion, he retired from the king's service, and was appointed organist to the consort of Charles, who was of the communion adopted by the composer.