eee 
THE QUEEN’S REQUIREMENTS 
117 
ful concert of instruments and voices? preceding the play and 
lasting an hour was, as the Diary informs us, the customary pre- 
lude. 
company, who cut out the music 
elements, in the main, because that 
company could not present them, 
as the following from the Induction 
spoken in 1604 from the Globe stage 
indicates :— 
“Sly. .What are your additions? 
Burbage. Sooth, not greatly 
needful; only as your salad to your 
great feast, to entertain a little 
more time, and to abridge the not- 
received custom of music in our 
theatre.” 
*It is likely and seems as early 
certain as circumstantial evidence 
can render it that Blackfriars pop- 
ularized the vocal-instrumental con- 
cert. A few years later (1609), 
special provision is made for con- 
certs as well as for plays in the 
articles of agreement by the com- 
pany at Whitefriars called Children 
of the King’s Revels,—a company 
modeled after Blackfriars. (cf. in- 
fra, 121°.) 
If the activity of Blackfriars in 
producing such concerts while car- 
rying out the Queen’s requirements 
and wishes did not cause a corre- 
sponding (and the first known) ac- 
tivity of musicians in collecting and 
publishing suitable songs and scores 
for such vocal and instrumental 
concerts, then it must be considered 
as at least remarkable that the two 
activities, each closely related to the 
other, sprang up independently and 
simultaneously. 
The earliest known English 
books of songs with accompani- 
ments on the chief musical instru- 
ments used at Blackfriars were 
published about 1600. Thomas 
Morley, one of the gentlemen of 
the Chapel Royal, published “The 
first book of Aires or little short 
Songes to sing and play to the lute 
with the bass viol, London, 1600.” 
About the same time, John Dow- 
land published “The first booke of 
. Songes or Ayers of foure Parts 
with Tablature for the Lute.” In 
It was no part of the play, and is not mentioned, therefore, 
1600 he published a second book of 
“Songes and Aires” for “the lute 
or Orpherian, with the viol de gam- 
ba” (entered on Stationers’ Regis- 
ter 15 July, 1600), in which he styles 
himself lutenist to the King of Den- 
mark. His third work appeared in 
1603 with the title, “Songs or Aires 
to sing to the lute, Orpharion, or 
Violls.” 
Philip Rosseter, lutenist, whom 
we later (1610 ff., complete work, 
vol. I). find an important figure in 
the history of the Children of the 
Queen’s Revels at Whitefriars, pub- 
lished in 1601 “A Booke of Ayres 
set foorth to be song to the Lute, 
Orpherian, and base Violl” (en- 
tered on Stationers’ Register 8 
May, 1601). Another work by Ros- 
seter was entered on the Stationers’ 
Register 14 April, 1609, under title 
“A booke of Consortes to the treble 
lute, bandora, treble viall, base viall, 
the Citterne and the flute.” 
The poet Samuel Daniel’s broth- 
John Daniel—whom we meet 
Bie (1615ff., complete work, vol. 
I) as the leader of that old-men’s 
company practicing on the reputa- 
tion of the children-companies as 
an asset under the name of The 
Children of her Majesty’s Royal 
Chamber of Bristol,—published in 
1606 a volume of “Songs for the 
Lute, Vial, and Voice, in folio.” 
—For data above, see Sir John 
Hawkins, A General History of the 
Science and Practice of Music, ete. 
(1776'; 18537), I, 482b; IT, 489a, 
570a, 571b. Also, E. Arber, A Tran- 
script of the Registers of the Com- 
pany of Stationers of London, 1554- 
1640 (1875-94), IIT. 
These books of concert music for 
voice and instrument are not only 
the earliest of their kind, but also 
form a collection more numerous 
than the product in this branch at 
any later period of similar brevity. 
If they did not arise out of the na- 
ture and popularity of the Black- 
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