After act one, "the cornets and organs playing loud
full of music;" after act two, "organs mixed with recorders;" after
act three, "organs, viols, and voices;" with "a base lute and a treble
viol" after act four. In the course of this play, moreover, musical
accompaniments of a descriptive kind were introduced, the stage
direction on two occasions informing us that "infernal music plays
softly." Nabbes, in the prologue to his "Hannibal and Scipio," 1637,
alludes at once to the change of the place of action of the drama, and
to the performance of music between the acts:
The place is sometimes changed, too, with the scene,
Which is transacted as the music plays
Betwixt the acts.
The closing of the theatres by the Puritans, in 1642, plainly
distressed the musicians almost as much as the players. Their
occupation was practically gone, although not declared illegal by Act
of Parliament. "Our music," writes the author of "The Actor's
Remonstrance," 1643, "that was held so delectable and precious that
they scorned to come to a tavern under twenty shillings for two hours,
now wander with their instruments under their cloaks--I mean such as
have any--into all houses of good fellowship, saluting every room
where there is company with: 'Will you have any music, gentlemen?'"
At the Restoration, however, king, actors, and orchestra all enjoyed
their own again.
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