MUSIC AND MUSICIANS IN RESTORATION LONDON

Abstract

AMONG the machines used in the 1673 production of the version of The Tempest by Shadwell and Locke was one flying away with a table, furnisht out with fruits, sweet-meats, and all sorts of viands, just when Duke Trinculo and his companions were going to dinner. Any attempt to survey in a few pages the abundant musical life of Restoration London must necessarily be rather like this strange meal: the spread is rich and sumptuous, but there is only time to pick a few mouthfuls before the dishes are snatched away. Sir William Petty, in his Advice to Mr. Samuel Hartlib, published in 1648, a dozen years before the Restoration, suggested that as have any naturall ability and fitnesse to Musick be Encouraged and Instructed therein. That all Children, though of the highest ranke, be taught some gentile Manufacture in their minority, such as . . . Making Musicall Instruments; and he added: It may engage them to be Mecoenates and Patrons of Arts. Sir Richard Steele, however, at the close of the Stuart period, was less optimistic: Our honest countrymen have so little inclination to music that they seldom begin to sing until they are drunk.' This opinion confirmed that of Sam Persons: A Musitian, is one of Therpsicore and Sterpes his Sons; He is a merry Fellow, He obeyes Heliogabalus's precept the most; Ede, Bibe, Lude, post mortem nulla Voluptas . . . He is natures Nightin-Gale, that sings Sweet, Sweet, and Jug, Jug, for he is much for strong drink, strong drink he thinks is Joves Nectar.' But not all music-making was on this bibulous level. Pepys's household in Seething Lane can seldom have been without the sound of music, and his diary is full of references to his own musical activities. There were, too, the merchants, who were growing in wealth and