Scan 223
A dictionary of old English music & musical instruments 1923, 1923
8 lines. Read by computer on 19 September 2026. Printed page 199. See the scan on archive.org.
1and one "Organ keeper and tuner," not to mention one "musician extraordinary and stringer of the lutes." Charles the Second's musical establishment was very large, and a list of musicians "paid in the Treasury of the Chambers Office" in 1668, for example, shows fifteen violins at £46 10s. 10d. each per annum, seven more at £46 12s. 8d., and two at £58 14s. 2d.; three composers (including Matthew Locke at £46 10s. 10d.), three musicians "for the Wind Musick," and others. The private musicians of the king in that year numbered ten, in addition to Dr. Gibbons as Virginal-player, John Hingston as Organ-tuner and repairer, and Richard Hudson (succeeded by Brockwell) as Keeper of the King's Instruments. In addition to the usual consort, Charles II formed an exquisite band of twenty-four violins, modelled on the lines of the French violons du roi, such men as John Banister (the Elder) and Lewis Grabu directing them.
3The duties of the royal musicians were not light. They were compelled, under threat of instant dismissal, to keep themselves in proper practice and were expected to rehearse punctually and regularly. Their services were required for coronations, royal funerals, marriages, and receptions in honour of foreign embassies; besides the usual work of performing at State balls, Masques, and assisting at special performances at the play-house patronised by the king. Music while the royal family was at dinner was probably supplied by the king's private chamber-musicians. There can be no doubt that the example set by the Court was followed by the nobility; and, as is to be expected, each grade of society imitated the one above it as far as their means would allow. The result of this was a very active cultivation of the musical art in England; and to a great extent the high standard of native music, especially under the later Tudors, was due to the encouragement, patronage, and personal example of the sovereign. Henry VIII sowed the seed of England's musical pre-eminence under Elizabeth, and, as far as his music was concerned at least, we might say with all due deference, O, si sic omnes!
5RUBIBLE. v. REBECK.
7RULES: In the Sixteenth and Seventeenth Centuries the lines upon which music was written were frequently termed Rules.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.