1 The Musicall Gramarian, pp. 4–5. ‘Operose’=laborious, elaborate.Google Scholar

2 Pepys, March 10, 1667.Google Scholar

3 A Plaine and Easie Introduction, p. 1.Google Scholar

4 Dedication to Second Set of Madrigals (1609).Google Scholar

5 Dedication to The First Set of English Madrigalls (1597).Google Scholar

6 The Compleat Gentleman, pp. 98–100. I quote from the second edition (1634).Google Scholar

7 Bulstrode Whitelocke, A Journal of the Swedish Ambassy in the Years 1653 and 1654 (1772), vol. ii, p. 156.Google Scholar

8 The Compleat Gentleman, p. 96.Google Scholar

9 Anthony Weldon, Court and Character of James I (1650).Google Scholar

10 Les Voyages de Monsieur Payen (2nd ed., 1667), p. 3.Google Scholar

11 Dedication to Musica Transalpina.Google Scholar

12 The Long Parliament in 1645 ordered: “Every one that can read is to have a Psalm-Book, and all others, not disabled by age or otherwise, are to be exhorted to learn to read. But for the present, where many in the Congregation cannot read, it is convenient that the Minister or some fit person appointed by him and the Ruling Officers, do read the Psalm line by line, before the singing thereof” (Acts and Ordinances of the Interregnum, 1642–1660, vol. i, p. 607).Google Scholar

13 Cf. Pepys, Apr. 12, 1667: “I tried my girles Mercer and Barker singly one after another, … and I do clearly find that as to manner of singing the latter do much the better, the other thinking herself as I do myself above taking pains for a manner of singing, contenting ourselves with the judgment and goodness of eare.”Google Scholar

14 Lives of the Norths (1826), vol. iii, p. 298.Google Scholar

15 Evelyn, Feb. 7, 1684.Google Scholar

16 Selections from the Household Boohs, &c. (Surtees Society, 1878), p. xlii.Google Scholar

17 The Musicall Gramarian, p. 41.Google Scholar

18 Pepys, July 28, 1666.Google Scholar

19 The Musicall Gramarian, pp. 18–19.Google Scholar

20 Pepys, Sept 15, 1667. Wallington was one of the principal performers at the informal concerts held near St. Paul's Cathedral shortly after the Restoration. North, Memoirs of Musick, pp. 108–9: “One Ben Wallington got the reputation of a notable base voice, who also set up for a composer, and hath some songs in print, but of a very low excelence.” He was one of the “endeared Friends of the late Music-Society and Meeting in the Old-Jury, London” to whom Playford dedicated his collection Catch that Catch can, or the Musical Companion (1667).Google Scholar

21 Private Correspondence and Miscellaneous Papers of Samuel Pepys, 79–1703, vol. ii, p. 109.Google Scholar

22 Psalms, Sonnets and Songs (1588).Google Scholar

23 Musick's Monument (1676), p. 6.Google Scholar

24 This, or its equivalent, occurs in Alison's An Howres Recreation (1606), Bateson's second set of madrigals (1618), all the volumes by Michael East, Gibbons's Madrigals and Motets (1612), Lichfield's madrigals (1613), Peerson's Private Musicke (1620) and Mottects (1630), Pilkington's second set of madrigals (1624), Vautor's madrigals (1619), Ward's madrigals (1613), Weelkes's two sets of madrigals (1600), Wilbye's second set of madrigals (1609). Forbes's collection of Songs and Fancies (Aberdeen, 1662) uses a similar phrase.Google Scholar

25 It is worth noting that several of Byrd's Psalms, Sonnets and Songs (1588) were originally composed as solos with instrumental accompaniment. The composer in his preface speaks of “divers songs, which being originally made for Instruments to expresse the harmonie, and one voyce to pronounce the dittie, are now framed in all parts for voyces to sing the same.” But he accepts as a matter of course the possibility that they may be performed with instruments. “In the expressing of these songs,” he says, “either by voyces or Instruments, if ther happen to be any jarre or dissonance, blame not the Printer.”Google Scholar

26 Cf. the dedication to Morley's Canzonets (1597), quoted above.Google Scholar

27 As Warlock points out (The English Ayre, p. 29), this is a very ambiguous description. Obviously only the highest voice-part—the ‘tune,’ in other words—could be sung by itself with lute accompaniment.Google Scholar

28 The Musicall Gramarian, p. 7.Google Scholar

29 Areopagitica (1644).Google Scholar

30 Anthony à Wood, Fasti Oxonienses (1815), vol. i, col. 486.Google Scholar

31 The Musicall Gramarian, p. 6. Cf. p. 28: “In consorts the chest of viols with an organ were the cheif suppellectile and seldom wanted in a musicall family.”Google Scholar

32 Memoirs of Musick, p. 81.Google Scholar

33 Memoirs of Musick, p. 93.Google Scholar

34 Historical Manuscripts Commission, Portland MSS., vol. ii, p. 296.Google Scholar

35 Pepys, Sept. 2, 1666.Google Scholar

36 Madrigals to five voices. Celected out of the best approved Italian Authors (1598).Google Scholar

37 Wye Saltonstall, Picturæ loquentes (2nd ed., 1635), No. 24.Google Scholar

38 The Good and the Badde, p. 31.Google Scholar

39 Act I, Sc. i. The play on the word ‘consort’ will be noticed.Google Scholar

40 The Anatomy of Melancholy (Bohn ed.), vol. iii, pp. 135 & 204.Google Scholar

41 The Musicall Gramarian, p. 21.Google Scholar

42 Twelfth Night, Act. I, Sc. iii.Google Scholar

43 Mémoires de la vie du Comte de Grammont (1713), p. 212.Google Scholar

44 Musick's Monument, p, 14. Cf. Arthur Bedford, The Great Abuse of Musick (1711), p. 135: “To have Skill in Musick was always reckon'd genteel Accomplishment.”Google Scholar

45 Religio Medici, in Works (ed. Wilkin, 1835), vol. ii, p. 106.Google Scholar

46 Edward Phillips, The New World of Words (6th ed., 1706).Google Scholar

47 The Compleat Gentleman, p. 97.Google Scholar

48 Cf. North, Lives of the Norths, vol. iii, p. 298: “Nothing is more medicinal to a crazy and fatigued mind.” A book of songs by J. W. Franck, published in London in 1690, was entitled Remedium Melancholiæ.Google Scholar

49 The Anatomy of Melancholy, vol. ii, pp. 132–6.Google Scholar

50 William Higford, The Institution of a Gentleman (1660), p. 80.Google Scholar

51 The Compleat Gentleman, p. 103.Google Scholar

52 Dorothy M. Meads, Diary of Lady Margaret Hoby (1930), p. 99. ‘Alpherion’=orpheoreon.Google Scholar

53 The Anatomy of Melancholy, vol. ii, p. 93.Google Scholar

54 A Journal of the Swedish Ambassy, vol. ii, p. 391.Google Scholar

55 The Courtier and the Country-man (ed. Hazlitt, 1868), p. 211.Google Scholar

56 Of Hearing, in Essaies upon the Five Senses (1620), p. 12.Google Scholar

57 Advice to a Son (7th ed., 1673), p. 13.Google Scholar

58 Advice to a Daughter (2nd ed., 1659), p. 25.Google Scholar

59 The Compleat Gentleman: or Directions for the Education of Youth (1678), vol. ii, p. 52.Google Scholar

60 Some thoughts concerning education, par. 185.Google Scholar

61 Pepys, March 9, 1666. Cf. July 30, 1666: “Musique is the thing of the world that I love most and all the pleasure almost that I can now take.”Google Scholar

62 Private Correspondence and Miscellaneous Papers, vol. ii, p. 109. Cf. his impressions of the wind music in The Virgin Martyr, which was “so sweet that it ravished me, and indeed, in a word, did wrap up my soul so that it made me really sick” (Feb. 27, 1668).Google Scholar

63 Musick's Monument, p. 21.Google Scholar

64 Preface to King Arthur.Google Scholar

65 Preface to the full score of Purcell's Dioclesian. In the first edition of my Purcell (p. 69) I followed the conventional view that this preface was Purcell's own work. But a draft of it in Dryden's handwriting (Brit. Mus., Stowe 755, fo. 34–35^v) suggests the poet's authorship. This is the more probable since Dryden wrote a prologue for Dioclesian, and on his own admission (in his preface to Amphitryon) it was this work which opened his eyes to Purcell's excellence as a composer. Note that Dioclesian was Purcell's first substantial work for the public stage.Google Scholar

66 The Musicall Gramarian, pp. 1 & 4. Cf. Memoirs of Musick, p. 83: “Wee must not brave it as some doe that there never was good musick in England but in our time.”Google Scholar

67 The Musicall Gramarian, pp. 22 & 26.Google Scholar

68 Ibid., pp. 29, 33–34.Google Scholar

69 An Essay of Musicall Ayre (Brit Mus., Add. 32536), fo. 63; The Musicall Gramarian, p. 20.Google Scholar

70 The Musicall Gramarian, p. 41.Google Scholar

71 Memoirs of Musick, p. 92.Google Scholar

72 Preface to Psalms, Sonnets and Songs (1588).Google Scholar

73 First Set of Madrigals and Pastorals (1614).Google Scholar

74 William Higford, The Institution of a Gentleman (1660), p. 78.Google Scholar

75 Pepys, Aug. 10, 1664.Google Scholar

76 Arthur Bedford, The Great Abuse of Musick (1711), p. 169.Google Scholar

77 Mace, Musick's Monument, p. 234.Google Scholar

78 Country Conversations (1694), p. 83.Google Scholar

79 The Musicall Gramarian, pp. 14–15.Google Scholar

80 Bedford, op. cit., p. 224.Google Scholar

81 A Plaine and Easie Introduction, p. 2.Google Scholar

82 John Batchiler, The Virgin's Pattern (1661), pp. 21–2, 26–7.Google Scholar

83 A Preparation to the Psalter (1619), p. 81.Google Scholar

84 John Earle, Micro-cosmographie, or a piece of the world discovered (6th ed., 1633), p. 24.Google Scholar

85 In his address to the reader Playford says that he would not have published his work, “knowing these Times and the Nature of it do not agree,” if there had not been “a false and surrepticious Copy at the Printing Presse.” This might be interpreted to mean that the Puritan government frowned on dancing; but as Whitelocke explained to Queen Christina of Sweden in 1654, “it is not prohibited by any law, and many there doe use it” (A Journal of the Swedish Ambassy, vol. 1, p. 298). It is more probable then that Playford is referring to the troubled nature of the period following the king's execution. On Puritan dancing in general, both in England and in America, see Scholes, Percy, The Puritans and Music, chap. iv.Google Scholar

86 Only two copies of A Musicall Banquet are known. One is in the Bodleian Library, the other in the Henry E. Huntington Library at San Marino, California. ‘My lady and her maid’ was reprinted in A Choice Collection of Catches, Rounds & Canons (1652, 1658 & 1663) and its successor. The Musical Companion (1667 & 1673). The composer was William Ellis, sometime organist of Eton and St John's College, Oxford, and famous for his music-meetings at Oxford during the Commonwealth.Google Scholar

87 Evelyn, Oct 25, 1695.Google Scholar

88 The Great Abuse of Musick, pp. 65, 67, 146, 166 and passim.Google Scholar

89 John Aubrey, Brief Lives (ed. Clark, 1898), vol. i, p. 70.Google Scholar

90 Title-page of Dowland's A Pilgrimes Solace (1612).Google Scholar

91 Calendar of State Papers, Venetian, Aug. 14, 1627.Google Scholar

92 Dedication to The Division Viol (2nd ed., 1665).Google Scholar

93 Private Correspondence and Miscellaneous Papers of Samuel Pepys vol. ii, pp. 110–11.Google Scholar

94 Pepys, Nov. 9, 15 & 20, 1660, May 19, 1661, Dec. 14 & 21, 1662, Dec. 14 & 21, 1663.Google Scholar

95 Evelyn, Oct. 21, 1671; Pepys, Jan. 6, 1668.Google Scholar

96 Anthony à Wood, Life and Times (ed. Clark), vol. i, p. 257, Notes on English Musicians (Bodleian, Wood D 19 (4)), fo. 13.Google Scholar

97 Evelyn, Dec. 2, 1674, Nov. 20, 1679; North, Memoirs of Musick, p. 123, The Musicall Gramarian. p. 34.Google Scholar

98 Evelyn, Jan. 28, 1685, Apr. 19, 1687.Google Scholar

99 The Italian musician was Cesare Morelli, for whom see my article, Foreign Musicians in Stuart England, in the Musical Quarterly, Jan. 1941, p. 84.Google Scholar

100 Evelyn, Jan. 28, 1685.Google Scholar

101 Evelyn, Nov. 19, Dec. 2, 1674, Jan. 27, 1682, Jan. 27 & 28, 1685. ‘Treble’=counter-tenor. Evelyn calls Abel “the famous treble.” It was not unusual to cultivate both voices. Purcell, who was a bass in the Chapel Royal, was also an expert counter-tenor (see my Purcell, pp. 41–2).Google Scholar

102 Memoirs of Musick, p. 117.Google Scholar

103 London Gazette, March 21, 1700.Google Scholar

104 North, Memoirs of Musick, pp. 117–20, The Musicall Gramarian, pp. 38–9; London Gazette, Jan. 29, June 15, Nov. 2, 1702; C. L. Day & E. B. Murrie, English Song-Books, 1651–1702 (1940), nos. 197–8.Google Scholar

105 J Pepys, Jan. 5, 1668; Aubrey, Brief Lives, vol. i, p. 122.Google Scholar

106 Aubrey, op. cit., vol. i, p. 310.Google Scholar

107 Hawkins (1875 ed.), p. 579. n.Google Scholar

108 Pepys, Jan. 7, 1660, June 10, 1664, Apr. 16 & 23, 1665, June 29, 1668, May 7, 1669; Wood, Athenæ Oxonienses (ed. Bliss), vol. iii, col. 1177; Aubrey, Brief Lives, vol. ii, p. 254. Aubrey says: “I have heard anthemes of his sang before his majestie [i.e. Charles II], in his chapell, and the king told him he liked them. He had a very fine chamber organ in those unmusicall dayes.” One is tempted to ask: “What unmusical days ?”Google Scholar

109 Pepys, Jan. 30, 1660, Jan. 13–15, 23, 28, Feb. 9, 11, 24, 26–7, March 14, 1662, June 10, 1664, Oct. 15, 29, Dec. 9, 1665, Aug. 22, Nov. 9, 14, Dec. 5, 19, 1666, March 10, 22, Apr. 15, Nov. 30, Dec. 10, 1667, March 29, Apr. 3–4, 8, Dec. 25, 1668, Jan. 11, 1669; Private Correspondence and Miscellaneous Papers of Samuel Pepys, vol. ii, p. 109; Evelyn, Aug. 3, 1664.Google Scholar

110 North, Memoirs of Musick, pp. 107–9.Google Scholar

111 Whitelocke, R. H., Memoirs of Bulstrode Whitelocke (1860), p. 15.Google Scholar

112 W. J. A. Jonckbloet & J. P. N. Land, Correspondence et œuvre musicales de Constantin Huygens (1882), p. ccxxvii.Google Scholar

113 Wood, Life and Times, vol. i, pp. 204–6, 273–5.Google Scholar

114 Pepys, July 22 & 29, Aug. 12, 1664, Oct. 30–31, Dec. 3, 6, 8, 31, 1665, Jan. 3, 1666, Nov. 15, 1667; The Siege of Rhodes (1656)—the cast is given at the end of the volume.Google Scholar

115 Pepys, Sept. 4, 9, 28, 1664, July 13, 1665, May 5, July 30, 1669 (cf. Apr. 12, 1667). The references to Pepys's private music-making are too numerous to be given here in full. See Bridge, J. F., Samuel Pepys, Lover of Musique (an untidy book, spoilt by a lack of precise references) and Romain Rolland, La Vie musicale d'un amateur anglais au temps de Charles II, in Voyage Musical au pays du passé.Google Scholar

116 Letters and the Second Diary of Samuel Pepys (ed. Howarth, 1932), p. 42.Google Scholar

117 Aubrey, Brief Lives, vol. i, pp. 331, 347, 352.Google Scholar

118 Lucy Hutchinson, Memoirs of the Life of Colonel Hutchinson (ed, Firth, 1906), pp. 20, 43, 46–8, 296.Google Scholar

119 North, The Life of the Right Honourable Francis North (1742), p. 296. Cf. The Autobiography of the Hon. Roger North (ed. Jessopp, 1887), p. 85.Google Scholar

120 Aubrey, Brief Lives, vol. i, p. 404; The Old Cheque-Book, or Book of Remembrance, of the Chapel Royal (ed. Rimbault, 1872), p. 16. The compositions are in vols. ii and iii of Tudway's collection (Brit. Mus., Harl. 7338 & 7339).Google Scholar

121 Evelyn, Nov. 29, 1644, Oct. 10, 1645, March 3, 1647, Nov. 19, 1674, Feb. 28, 1684, Jan. 27, 1685; Pepys, Apr. 12, 1664; North, Memoirs of Musick, p. 123.Google Scholar

122 North, Memoirs of Musick, pp. 123–4 (with Rimbault's note), The Musicall Gramarian, p. 35; Evelyn, March 4, 1656; Roger L'Estrange, Truth and Loyalty Vindicated (1662), pp. 47 & 50; André Pirro, Dietrich Buxtehude (1913), pp. 97–8.Google Scholar

123 Simpson, The Division Viol (1665), dedication; North, Memoirs of Musick, pp. 133–4.Google Scholar

124 Memoirs of Musick, p. 96.Google Scholar

125 Pepys, Feb. 19, 1664.Google Scholar

126 Dedication of Ayres and Dialogues, book i (1653).Google Scholar

127 Evelyn, Jan. 28, March 10, 1685.Google Scholar

128 Memoirs of the Life of Colonel Hutchinson, p. 14.Google Scholar

129 John Batchiler, The Virgin's Pattern, pp. 4–7.Google Scholar

130 Ibid., p. 53.Google Scholar

131 Evelyn, March 10, 1685.Google Scholar

132 Preface to L'Art de toucher le clavecin (1717).Google Scholar

133 Jonckbloet & Land, Correspondance et œuvre musicales de Constantin Huygens, pp. 57 & 78.Google Scholar

134 Pepys, May 1, July 24, 1663, Aug. 15, 1664, Oct. 12, Nov. 10, 1666, Jan. 22, 1668.Google Scholar

135 Pepys, Feb. 7, March 1, May 8, Aug. 23, Sept. 11 & 12, 1667, &c.Google Scholar

136 Pepys, Apr. 26, 1660, Dec. 21, 1662.Google Scholar

137 Pepys, Oct. 15, 1665.Google Scholar

138 Evelyn, Jan. 28, 1685.Google Scholar