On New Year's Eve, 1816, we find him in full-dress at a ball given by a former fellow-student, now a person of high position in Quedlinburg, who has taken him for a week into his house, and has dressed him up. The next day, Kratz reflects upon the event, in his journal, thus: —
"January 1st, 1817. Every thing changes in life. The deadening winter is followed by the reviving spring; out of the moistened eye beams again the sun-ray of joy. The first day of the last year found me in the hut of a peasant, sleeping on a couch of straw, and my rest unpleasantly disturbed by the firing of volleys by the peasant lads; the first day of this year finds me awake in a brilliantly-lighted saloon, where I am surrounded by varicoloured figures moving in the brightness of light, where the sound of music floats agreeably about my ears, while I am blissfully waltzing round with the most charming girl in the room."
Unfortunately for Kratz, this blissful state was of but short duration. Soon we find him again as before in his "Rambles of an Artist," except that he now moves gradually to the North, until he reaches Hamburg, which he enters, and where we lose sight of him.
In the present survey several books have been mentioned which possess but little value. Still, they deserve a place among the fanciful, paradoxical, extravagant, and quaint publications relating to the art of music. Some more might have been cited; but the list is probably large enough to convince the lover of music that we are by no means in want of curiosities in our musical literature.
THE ENGLISH INSTRUMENTALISTS
Towards the end of the sixteenth century, and in the beginning of the seventeenth, companies of English actors visited Germany to perform at the courts of princes, and at public festivities. The Germans called these actors 'Die englischen Comödianten' (The English Comedians); and the musicians accompanying them they called 'Die englischen Instrumentisten' (The English Instrumentalists.) Respecting the English Comedians much has already been written by Shakespearean scholars. The musical accomplishments of these strolling troupes have, however, not received sufficient attention to satisfy musicians. Although they appear not to have been remarkable, they are interesting inasmuch as they were associated with the performances of Shakespeare's dramas, and also because the English Instrumentalists have been, with few exceptions, the only English musicians who ever visited Germany with the object of gaining a livelihood in that country by displaying their skill.
Some notices of them are to be found in the historical records of the German theatres, which have been published during the present century.
What induced these actors and musicians to leave their native country? – Want of support at home. There were too many of them in England. During the sixteenth century many were in the service of English noblemen. It was a usual custom with the nobility to keep a company of instrumentalists as well as actors; and to these were not unfrequently added skilful tumblers, or acrobats, who seem to have enjoyed great popularity. Strolling troupes of the latter visited the provincial towns. W. Kelly, in his 'Notices illustrative of the Drama, and other popular amusements in Leicester, during the 16th and 17th centuries,' says: "The earliest notice we have of the visits of companies of tumblers to the town is in 1590." These personages undoubtedly also played on musical instruments. In the German records alluded to, they are called Springer (i. e. "Jumpers" or "Dancers"), and it would appear that not all the English Instrumentalists, but only the lowest class of them, combined the art of dancing and tumbling with that of music. The majority were musical actors rather than professional musicians; while others occupied themselves almost exclusively with playing on musical instruments, such as the lute, treble-viol, viola da gamba, recorder, cornet, trumpet, etc.
In a Proclamation of Queen Elizabeth, issued in the year 1571, these strolling performers are mentioned in rather disreputable company: "All Fencers Bearewardes Comon Players in Enterludes, and Minstrels, not belonging to any Baron of this Realme, or towarde any other honorable Personage of greater Degree; all Juglers Pedlers Tynkers and Petye Chapmen; wiche said Fencers Bearewardes Comon Players in Enterludes Minstrels Juglers Pedlers Tynkers and Petye Chapmen, shall wander abroade, and have not Lycense of two Justices of the Peace at the Feaste, whereof one to be of the Quorum, wher and in what Shier they shall happen to wander … shalbee taken adjudjed and deemed Roges Vacaboundes and Sturdy Beggers;" etc.45
Some interesting details concerning the nature of the performances of the English common musicians at the time when this Proclamation appeared, may be gathered from 'A Dialogue betwene Custome and Veritie, concerninge the use and abuse of Dauncinge and Mynstralsye, by Thomas Lovell, London, 1581.' The book is written in verse. Custom defends and excuses dancing and minstrelsy, which Verity attacks and abuses. As regards the minstrels, Verity remarks: —
"They are accounted vagarant roges
By act of Parliament,
What reason why they should not then
Like Roges to Jaile be sent,
Except they doo belong to men
Which are of high degree,
As in that act by woords set downe
Expressly we may see.
To such, I think, but few of these
Vain Pipers doo pertain:
To men so grave a shame it were
Fond Fidlers to maintain.
A great disgrace it were to them,
Their cloth abrode to send
Upon the backs of them which doo
Their life so lewdly spend."
Respecting the performances of the minstrels, vocal as well as instrumental, Verity says: —
"Their singing if you doo regard,
It is to be abhord:
It is against the sacred woord
And Scripture of the Lord.
But this doo minstrels clene forget:
Some godly songs they have,
Some wicked Ballads and unmeet,
As companies doo crave.
For filthies they have filthy songs,
For baudes lascivious rimes;
For honest good, for sober grave
Songs; so they watch their times.
Among the lovers of the trueth,
Ditties of trueth they sing;
Among the Papists, such as of
Their godlesse legend spring.
For he that cannot gibe and jest,
Ungodly scoff and frump,
Is thought unmeet to play with Pipe,
On tabret or to thump.
The minstrels doo with instruments,
With songs, or els with jest,
Maintain them selves, but as they use,
Of these naught is the best."
This Dialogue, the author of which is supposed to have been a Puritan, concludes with Verity convincing and converting Custom.46
A grant under the Privy Seal of James I. for the issue of letters patent in favour of Thomas Downton and others, on transferring their services as players to the Elector Frederic, dated January 4th, 1613, contains the following names of actors and musicians: Thomas Downton, William Bird, Edward Juby, Samuell Rowle, Charles Massey, Humfrey Jeffs, Franck Grace, William Cartwright, Edward Colbrand, William Parr, William Stratford, Richard Gunnell, John Shanck, and Richard Price. These, and "the rest of their Associates" were licensed and authorised as servants of the Elector Palatine "to use and exercise the art and facultie of playing Comedies, Tragedies, Histories, Enterludes, Moralls, Pastoralls, Stage Plaies and such other like as they have already studied, or hereafter shall use or study."
In a Patent of James I., licensing the performance of plays by his Majesty's Servants at the private house in Blackfriars, as well as at the Globe, March 27th, 1620, are mentioned: John Hemings, Richard Burbadge, Henry Condall, John Lowen, Nicholas Tooley, John Underwood, Nathan Feild, Robert Benfeild, Robert Gough, William Ecclestone, Richard Robinson, and John Shancks. In a patent of Charles I., dating June 24th, 1625, which renews that of James I., we have, besides the names just mentioned, Joseph Taylor, William Rowley, John Rice, Elliart Swanston, George Birch, Richard Sharpe, and Thomas Pollard.47
The names are here given to enable the reader to compare them with the names, often arbitrarily spelt, of the English actors and instrumentalists in the German records.
The earliest account of the appearance of these foreigners in Germany dates from the year 1556, when an English company of actors visited the court of the Margrave of Brandenburg. In Berlin they found a well-organized musical band belonging to the Elector Joachim II., the regulations of which, dating from the year 1570, are still extant. In a more comprehensive set of regulations issued by the Elector Johann Georg, in the year 1580, the following instruments are specified as being played by the Elector's musicians: —Positif, Zimphonien, Geygen, Zinckenn, Qwerpfeiffen, Schalmeyenn, Krumbhörner, Dultzian, Trummeten, Posaunen, Bombarten, ("Organ, spinets, instruments played with a bow, cornets, small German flutes, shalms, cormornes, a small bassoon, trumpets, trombones, bombardos."48).
In the beginning of the seventeenth century we find in the Elector of Brandenburg's service some English musicians who had probably come to Germany with the English actors. The following are mentioned in the Prussian records, with their names more or less Germanized.
Johann Kroker (John Croker), Berlin, 1608. He must have been a rather distinguished musician; for the Elector Joachim Friedrich made him Vice-Kapellmeister, or second leader of the orchestra.
Johann Spencer. In a letter dated "Königsberg, July 14th, 1609," the Elector Johann Sigismund recommends Johann Spencer to the Elector of Saxony as an English musician who was recommended to him by the Duke Franz von Stettin, and who had been for some time in Berlin. The Elector adds that Johann Spencer's music had pleased him pretty well.49 There can hardly be a doubt that this musician is the same John Spencer who was the director of a company of English Comedians travelling in Holland and in Germany.
Walter Rowe (also written Roe) Berlin, 1614. A viola-da-gamba player of some reputation. He must have been at least thirty-three years in the service of the Elector, for he is still mentioned as a member of the orchestra in 1647. About the year 1626 he resided for some time at the court of the Duke of Mecklenburg-Güstrow. His son, Walter Rowe, was likewise a musician in the Elector's orchestra at Berlin.
Lambert Blome (probably Bloom) is mentioned in the year 1621 as a Clarin-Bläser (trumpeter) in the orchestra at Berlin.
Valentin Flood was, in 1627, engaged in Berlin, as player on the Treble Viol.
John Stanley, a theorbo player, was, in the autumn of the year 1628, at the court of the Elector of Brandenburg, and in the year 1631, entered the service of the Landgrave Wilhelm of Hesse-Cassel.
Johann Boldt (probably John Bolt), Berlin, 1635. Cornetto player.
These musicians were not the only foreigners in the band of the Elector at Berlin. Several Italians are mentioned in the records, and even one or two Polish cither players. As early as in the year 1564, mention is made of an Italian virtuoso, Antonio Bontempi, who was engaged as player on the lute, theorbo, and cornetto.
Although the English comedians most probably visited the Netherlands before they made their appearance in Germany, we meet with them in Holland not earlier than in the year 1604. A company, which in 1605 performed in Leyden, had previously been in Berlin, and was provided with letters of recommendation from the Elector of Brandenburg.50 Moreover, there was a company of English comedians in Denmark during the second half of the sixteenth century. Five of these, who in the old documents are mentioned as Instrumentalists, probably because they were chiefly musicians, arrived in the year 1586 at the court of Christian II., Elector of Saxony. Leaving unnoticed those who are mentioned only as actors, we find recorded in Dresden the following English instrumentalists, whose names are copied as spelt in the German documents: —
Tomas Konigk (Thomas King), Dresden, 1586. He had previously been in Denmark.
Tomas Stephan (Thomas Stephen), Dresden, 1586.
George Bryandt (George Bryant), Dresden, 1586; also known as an actor.
Thomas Pabst (Thomas Pope), Dresden, 1586. He is supposed to have been a personal acquaintance of Shakespeare.51
Rupert Persten (probably Rupert Pierst). Dresden, 1586.
These musicians are in their appointment designated as Geyger und Instrumentisten ('Fiddlers and Instrumentalists') and their duties are prescribed as follows: – "They must be attentive and obedient, of good behaviour at our Court; they must follow us on our travels if we desire it. Whenever we hold a banquet, and also on other occasions, as often as they are ordered, they have to attend with their fiddles and other requisite instruments, to play music. And they must also amuse us with their art of tumbling, and other graceful things which they have learnt. They are expected to demean themselves towards us as behoves faithful and attentive servants; which they have also promised, and bound themselves to observe."52
John Price, who came to Dresden in the year 1629, was a virtuoso on the flute. The Elector of Saxony gave him a superior appointment in his orchestra. Mersenne ('Harmonie universelle,' Paris, 1636) mentions him as a brilliant player. The little flute which he principally used had only three finger-holes; but he is said to have been able by various expedients, or knacks, to obtain on it a compass of three octaves. He had previously an engagement at the Court of Würtemberg, in company with John Dixon, mentioned as an English instrumentalist, and with John Morell, David Morell, and two other Englishmen, who probably were comedians.
In the year 1626, a company of English comedians performed in Dresden, among other pieces, Shakespeare's 'Romeo and Juliet,' 'Hamlet,' 'King Lear,' and 'Julius Cæsar.'53 A troupe of English comedians, which in the year 1611 visited Königsberg, consisted of thirty-five members, nineteen of whom are designated in the records as actors, and sixteen as instrumentalists.54 No doubt most of those designated as actors were also musical; but the circumstance of nearly one half of the troupe being professional musicians sufficiently shows how greatly the entertainments consisted of musical performances. Another proof of this may be found in a record stating that in Hildesheim a company of English actors gave representations in English.55
There were probably but few persons among the audience who understood English. It may, therefore, be surmised that music constituted the chief attraction of the entertainment. There was, however, also amusing leaping and dancing, and the funny clown, – the English Jack-Pudding, Dutch Pekelharing, German Hanswurst, French Jean Potage, Italian Signor Maccaroni. The clown derives his nickname from the favourite dish of the mob.
It is unnecessary, for the purpose of tracing the pursuits of the English actors and instrumentalists, to follow them in their visits to all the German towns which preserve records of them. Suffice it to notice their stay in Cassel, where they arrived in the year 1600. The Landgrave Moritz of Hesse Cassel took them into his service, and, in 1605, built for them a theatre in the form of a circus, to which he gave the name Ottoneum, in honour of his eldest son, Otto. The walls of this edifice were beautifully ornamented with frescoes.
However, in 1607, the Landgrave Moritz declared that he was tired of "the confounded dancers and jumpers," as he called them; and he dismissed the company from his service, with the exception of a few clever members, whom he retained until the year 1613. The Landgrave Moritz was a learned man, and likewise a poet and a musical composer. His opinion is therefore not without some weight. The company, after its departure from Cassel, perambulated for several years through Germany, and appears to have found everywhere a good reception, – especially at Nürnberg, where, in 1612, their "new beautiful comedies" were much admired.
Four names may here be given of English actors, who, in the year 1591, set out to go to Germany with the avowed intention of improving their impoverished circumstances. They are: Robert Brown, John Broadstreet (or Breadstreet), Thomas Sackville and Richard Jones. As in the letter of recommendation of these men, which has been discovered in the archives of the Hague, their musical accomplishments are mentioned before their other accomplishments, – it being stated that they intended to travel for the purpose "of practising their profession by performing of music, feats of agility, and games of comedies, tragedies and histories,"56– it is evident that music must have been one of their most practised arts, if not actually their original profession.
In the year 1603, Lord Spencer was sent by James I. on a special embassy to Prince Frederick, Duke of Würtemberg, to invest him with the Order of the Garter. Among Lord Spencer's retinue were four skilful musicians, who appear to have been picked English instrumentalists, to judge from the praise bestowed on them by Erhardus Cellius in his account of the visit, which was published at Tübingen in the year 1605. The following quotation is a translation, the narrative of Erhardus Cellius being originally written in Latin: – "The royal English musicians whom the illustrious royal ambassador had brought with him to enhance the magnificence of the embassy and the present ceremony [the Duke's investiture of the Order of the Garter], though few in number, were eminently well skilled in the art. For England produces many excellent musicians, comedians and tragedians most skilful in the histrionic art; certain companies of whom, quitting their own abodes for a time, are in the habit of visiting foreign countries at particular seasons, exhibiting and representing their art principally at the courts of princes. A few years ago, some English musicians coming over to our Germany with this view, remained for some time at the courts of great princes; and their skill, both in music and in the histrionic art, procured them such favour that they returned home liberally rewarded, and loaded with gold and silver."57 Erhardus Cellius was Professor of Poetry and History at Tübingen.
There remain to be noticed a few English musicians who came to Germany about the time of the visits of the English comedians, but who appear not to have been connected with any of the companies.
John Dowland, a virtuoso on the lute, and also a composer, visited about the year 1585 the Courts of Hesse-Cassel and of Brunswick-Wolfenbüttel. Afterwards, he was for some time lutenist in the service of the King of Denmark, where perhaps he may have associated with the English comedians. John Dowland was evidently a personal acquaintance of Shakespeare, who has immortalized him in his 'Passionate Pilgrim': —
"If music and sweet poetry agree,
As they must needs, the sister and the brother,
Then must the love be great 'twixt thee and me,
Because thou lov'st the one, and I the other.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As passing all conceit, needs no defence.
Thou lov'st to hear the sweet melodious sound
That Phœbus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd
Whenas himself to singing he betakes.
One god is god of both, as poets feign;
One knight loves both, and both in thee remain."
To conclude that Shakespeare must have been a practical musician, because he wrote beautiful poetry on the charms and power of music, would be as bold as to assume from certain passages in his dramas that he was originally a lawyer, a soldier, a tinker or a horse-dealer. Indeed, regarded as a critical opinion, his beautiful sonnet on Dowland is less valuable than the judgment of Dr. Burney, who remarks: "After being at pains of scoring several of Dowland's compositions, I have been equally disappointed and astonished at his scanty abilities in counterpoint, and the great reputation he acquired with his contemporaries, which has been courteously continued to him either by indolence or ignorance of those who have had occasion to speak of him, and who took it for granted that his title to fame, as a profound musician, was well founded."58
John Bull, another English musician of some reputation, was a virtuoso on the harpsichord and organ. Perhaps the circumstance of his playing these instruments kept him aloof from the English Comedians on the continent; otherwise his restless and unsettled life would have fitted him well for their companionship. Born in Somersetshire, about the middle of the sixteenth century, John Bull, in the year 1601, made his first journey to Holland, France and Germany, where his organ performances, and even his compositions, found admirers. Having returned to England, he went, in 1607, a second time to the continent with the object, it is recorded, of restoring his shattered health, – or perhaps, as Dr. Burney surmises, to improve his shattered financial condition. He died in Germany. Sir John Hawkins, in his 'History of Music,' gives two Riddle Canons by John Bull, written in the shape of a triangle. The anecdote about the marvellous skill of this musician, exhibited by his adding forty more parts to a song composed in forty parts,59 is so absurd as hardly to provoke a smile from anyone acquainted with the theory of music. John Bull has also been praised for having composed some pieces for the Virginal so difficult that even pianists of the present day are startled by his rapid passages in thirds and sixths. But, considering how rude and unmelodious these contrivances are, he would deserve greater praise if his music were easily executable, impressive, and better suited for the instrument for which it was composed, than is the case. If R. Clark's statement, according to which John Bull was the composer of the English National Anthem, were correct, he would have a greater claim to consideration than he deserves at present. The composers of old popular tunes are seldom known; it is therefore only proper to regard the whole nation as the composer of its principal national tune, if its origin has not been definitively ascertained; and in this sense it is perhaps right to assign the composition of the English National Anthem to John Bull.
Another English musician, Thomas Cutting, went to Denmark in 1607. He was a lutenist. There is no record of his having been in Germany. John Abell, an English singer and lutenist, gave concerts in Holland, Germany, and Poland, at the time of Charles II., consequently, after the period of the English Comedians' visit to the Continent.
It is a remarkable fact that, previous to the appearance of those musicians in Germany, England had already been visited by foreign musicians, whose talents, considering the positions obtained by several of them, must have had considerable influence upon the taste of their English colleagues. There were five German musicians in the service of Richard III., in the year 1483; eighteen foreign musicians in the service of Henry VIII.; and as far as can be made out from the corrupt spelling of the names, the bands of Edward VI. and of Queen Elizabeth contained about as many foreigners as that of Henry VIII. The Dutch lutenists, Philip van Welder and Peter van Welder, held a superior position in the band of Edward VI. The former had already been engaged by Henry VIII. as teacher on the lute to the royal children. The distinguished lutenist Jacques Gaulter (or Gouter), in the service of Charles I., was a Frenchman.
The generally acknowledged superiority of the foreign musicians explains the dissatisfaction with the popular taste expressed in the works of several English musicians. Already John Dowland complains in his Prefaces of being neglected. Matthew Lock, in his 'Little Consort of three parts, containing Pavans, Ayres, Corants, and Sarabands, for Viols or Violins,' London, 1657, remarks: "For those mountebanks of wit, who think it necessary to disparage all they meet with of their own countrymen, because there have been and are some excellent things done by strangers, I shall make bold to tell them (and I hope my known experience in this science will enforce them to confess me a competent judge), that I never yet saw any foreign instrumental composition (a few French Corants excepted,) worthy an Englishman's transcribing." John Playford, in his 'Musick's Delight on the Cithren,' London, 1666, complains: "It is observed that of late years all solemn and grave musick is much laid aside, being esteemed too heavy and dull for the light heals and brains of this nimble and wanton age; nor is any musick rendered acceptable, or esteemed by many, but what is presented by foreigners: not a City Dame, though a tap-wife, but is ambitious to have her daughters taught by Monsieur La Novo Kickshawibus on the Gittar, which instrument is but a new old one, used in London in the time of Queen Mary." Again, in his 'Introduction to the Skill of Musick,' John Playford complains: "Our late and solemn musick, both vocal and instrumental, is now justl'd out of esteem by the new Corants and Jigs of foreigners, to the grief of all sober and judicious understanders of that formerly solid and good musick." This is copied from the edition published in 1683; the first edition appeared in 1655. Christopher Simpson, in his 'Compendium of Practical Musick,' London, 1667, boldly asserts: "You need not seek outlandish authors, especially for instrumental musick; no nation, in my opinion, being equal to the English in that way; as well for their excellent, as their various and numerous Consorts of three, four, five and six parts, made properly for instruments," etc. Thus also Christopher Simpson, at the conclusion of his 'The Division Violist, or an Introduction to the Playing upon a Ground,' London, 1659, says: "And here I might mention (were it not out of the Rode of my Designe,) divers others [besides Mr. John Jenkins]; most eminent men of this our nation, who, for their excellent and various compositions, especially for instruments, have, in my opinion, far outdone those nations, so much cryed up for their excellency in Musick."
The preference given by these musicians to their own music does not, however, throw much light upon the question: Of what kind was the music played by the English instrumentalists, who accompanied the comedians on the continent?
A satisfactory answer to this question may be obtained from an examination of the secular music popular in England about three hundred years ago, and from the stage directions in the dramas performed by the strolling actors.
As regards the diffusion of musical knowledge in England at the time of Queen Elizabeth, the historical records contain contradictory statements, which however may, with some discrimination, be reconciled with each other. It is well known that England possessed at that period some estimable composers of sacred music who would probably have obtained a hearing on the continent, had they not been obscured by the excellent Flemish and Italian church composers. Some intelligent foreigners who made a trip to England, at the time of Queen Elizabeth, praise the music which they heard in the principal churches of the country. Paul Hentzner, a German scholar, who visited England in the year 1598, remarks in his journal: "The English excel in dancing and music, for they are active and lively, though of a thicker make than the French." He subsequently expresses a less favourable opinion of the musical taste of the English: "They are vastly fond of great noises that fill the ear, such as the firing of cannon, drums, and the ringing of bells."60 This statement accords with a remark of Dr. Burney in his History of Music, Vol. III., p. 143; and likewise with Handel's advice to Gluck, when the latter, after the performance of his opera 'Caduta de' Giganti' in London, anno 1746, complained of want of success: "For the Englishman you must compose something which is powerful, and which acts upon his tympanum."61 Music was also called noise. For instance, in Shakespeare's Henry IV., Part II., Act 2, Scene 4: —
'And see if thou canst find Sneak's noise; Mistress Tearsheet would fain hear some music.'
It may be supposed that the popular taste for loud music was some centuries ago much the same as it is at the present day, where quantity is often more thought of than quality. But, there are some records from which it would appear that the cultivation of music was universal among the educated classes. Henry Peacham in his 'Compleat Gentleman,' London, 1634, enumerates with the many requisite accomplishments of a gentleman, some practical and theoretical knowledge of the art of music. However, he does not describe the gentleman as he finds him, but, as in his opinion he ought to be. To conclude from his description that in the seventeenth century every English gentleman was musical, would be as unwarrantable as to conclude from Lord Chesterfield's well-known advice to his son to leave violin-playing to the professional musicians, that in the eighteenth century Englishmen of education considered it derogatory to play on a musical instrument.
In Thomas Morley's 'Introduction to Practical Musick,' London, 1597, which is written in dialogue, Philomathes says to Polymathes, in the beginning of the discourse, that recently when at a party he could not join in their madrigal singing after supper "euery one began to wonder. Yea, some whispered to others, demaunding how I was brought up: so that vpon shame of mine ignorance, I goe now to seeke out mine old friend master Gnorimus, to make my selfe his scholler." This statement appears, however, to be in contradiction with one made about the same time in another instruction book, entitled 'The Schoole of Mvsicke; wherein is tavght the perfect Method of trve fingering of the Lute, Pandora, Orpharion, and Viol-da-Gamba; with most infallible generall rules, both easie and delightfull. Also a Method how you may be your owne instructor for Prick-song, by the help of your Lute, without any other teacher: with lessons of all sorts for your further and better instruction. Newly composed by Thomas Robinson, Lutenist; London, 1603.' This book likewise is written in the form of a dialogue, the persons in conversation being "Knight" and "Timothevs." In the beginning of the dialogue Knight remarks: "In mine opinion I think it impossible to be a good Musitien, except a man be seene in all the seauen liberall Sciences; for I know many great clarkes in Diuinitie, Phisicke, Law, Philosophie, etc., that haue small, or no knowledge at all in Musicke, nay, some quite reject it."