Editing John Jenkins (composer) (section)

==Musical style==
{{listen|type=music
 | filename     = John_Jenkins_(1592-1678)_-_Pavan_à6_in_F,_VdGS_No.2_(ca.1667).ogg
 | title        = Pavan à6 in F, VdGS No.2, Oxford. Bodleian Library, Mus.Sch. c.83, II/2 (ca.1667)
 | description  = Performed by Phillip W. Serna, Treble, Tenor & Bass [[Viol]]s 
}}

Jenkins was a long-active and prolific composer whose many years of life, spanning the time from [[William Byrd]] to [[Henry Purcell]], witnessed great changes in English music.  He is noted for developing the [[viol consort]] [[fantasia (music)|fantasia]], being influenced in the 1630s by an earlier generation of English composers including [[Alfonso Ferrabosco the younger]], [[Thomas Lupo]], [[John Coprario]] and [[Orlando Gibbons]].  Jenkins composed numerous 4, 5, and 6 part [[fantasia (music)|fantasia]]s for [[viol consort]], [[alman]]s, [[Courante|courant]]s and [[pavane]]s, and he breathed new life into the antiquated form of the ''In Nomine''.  He was less experimental than his friend [[William Lawes]]; indeed, Jenkins's music was more conservative than that of many of his contemporaries.  It is characterised by a sensuous lyricism, highly skilled craftsmanship, and an original usage of tonality and counterpoint.

The musicologist [[Wilfrid Mellers]] claimed that [[J. S. Bach]]'s Orchestral Suites No. 3 and No. 4 in D major (BWV 1068–69) recalled the sensibility of the physician-philosopher Sir [[Thomas Browne]]; however, the melancholic pavans, meditative fantasias and vigorous allemands of Jenkins are closer in era, antique style and temperament, to his Norfolk contemporary than Bach. Jenkins may even have socially met or performed in the presence of Browne while employed in his retirement years by Sir [[Sir Philip Wodehouse, 3rd Baronet|Philip Wodehouse]] of Kimberley as correspondence between Browne and Wodehouse survives.<ref>Geoffrey Keynes (ed.), The Works of Sir Thomas Browne (London: Faber & Faber, 1964), 4 vols.</ref>