g._, 'a pleasant galliard,' 'a
solemn dump,' or 'a pleasant Allemayne.' A little later, Marston, in
his _Sophonisba_, 1606, goes into considerable detail as to the music
between the Acts; after Act I., 'the cornets and organs playing loud
full music'; after Act II., 'organs mixed with recorders'; after Act
III., 'organs, viols, and voices'; after Act IV., 'a base lute and a
treble viol'; and in the course of Act V., 'infernall music plays
softly.' Fiddles, flutes, and hautboys are mentioned by other
dramatists as instruments in use at the theatre at this time.
Rimbault's Introduction to Purcell's opera 'Bonduca' gives the names
of twenty-six Masques and Plays produced between 1586 and 1642 (when
the theatres were closed), all of which contained important music.
Amongst them are Jane Shore, by Henry Lacy, 1586, with music by
William Byrd; seven masques by Ben Jonson, dating 1600-1621, four of
which had music by Ferrabosco; a masque by Beaumont (1612) with music
by Coperario; a play Valentinian, by Beaumont and Fletcher (1617) set
by Robt. Johnson; The Triumphs of Peace by Shirley (1633), with music
by William Lawes and Simon Ives; several other masques, set by Henry
Lawes, who did the music to Milton's _Comus_ (1634), etc. The list
also includes Shakespeare's _Tempest_, with Robt. Johnson's music, two
numbers of which, viz., 'Full fathom five,' and 'Where the bee sucks,'
are printed in Bridge's Shakespeare's Songs, with date 1612.
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