Ive, Simon (DNB00)
IVE, SIMON (1600–1662), musician, baptised at Ware in Hertfordshire 20 July 1600, was lay vicar of St. Paul's Cathedral until about 1653, after which he gave lessons in singing. Wood wrote: ‘He was excellent at the lyra-viol, and improved it by excellent inventions.’ Upon the Restoration Ive was installed as eighth minor prebendary of St. Paul's (1661). He died at Newgate Street, in the parish of Christchurch, London, on 1 July 1662, and bequeathed his freehold and other property in Southwark and Moorfields to his daughter Mary, wife of Joseph Body, citizen and joiner. He also left legacies to his son Andrew, and to relatives in Hertfordshire and Essex. A son, Simon, also a musical composer, was student of Clare Hall, Cambridge, about 1644, and probably died early.
Ive was chosen by Whitelock to co-operate with Henry Lawes [q. v.] and William Lawes [q. v.] in setting to music Shirley's masque the ‘Triumph of Peace,’ which was performed at Whitehall in February 1633–4 (Arber, Stationers' Registers, iv. 287). Ive was paid 100l. for his share of the work. He also assisted Whitelock in the composition of a popular corante. Among his vocal compositions are: ‘Si Deus nobiscum,’ canon a 3 (in Warren's ‘Collection’ and Hullah's ‘Vocal Scores,’ p. 154); ‘Lament and Mourn,’ a 3; an ‘Elegy on the Death of William Lawes’ (in Lawes's ‘Choice Psalms,’ 1638); several numbers in Playford's ‘Select Ayres and Dialogues,’ 1669; catches (in Hilton's ‘Catch that catch can,’ 1652; Playford's ‘Musical Companion,’ 1672; and Additional MS. 11608, fol. 74 b). His instrumental works include twelve pieces in ‘Musick's Recreation on the Lyra-viol,’ 1652, ‘Court Ayres,’ 1655, and ‘Musick's Recreation on the Viol, Lyra-way,’ 1661; seventeen fantasias for two basses (in the handwriting of J. Jenkins [q. v.], Addit. MS. 31424), and fantasias, almain, pavan (Addit. MSS. 17792 and 31423). He also set the collect of the Feast of the Purification to music (Clifford, Divine Services). Ive bequeathed a ‘set of fancies and In Nomines of (his) own composition of four, five, and six parts’ to the petty canons of St. Paul's, in addition to ‘one chest of violls, of Thomas Alred his making, wherein are three tenors, one base, and two trebles; also another base that one Muskett his man made.’[Hawkins's Hist. of Music, iii. 770; Burney's Hist. of Music, iii. 369–79, quoting Whitelock; Dict. of Musicians, 1827, p. 401; Grove's Dict. of Music, ii. 26; Anthony à Wood's manuscript notes (Bodleian); P. C. C. Registers of Wills, Laud, fol. 97; Malcolm's Londinium Redivivum, iii. 27.]