Event Comment: London Gazette, No 742, 26-30 Dec. 1672: These are to give Notice, that at Mr John Banister's House, now called the Musick School, over against the George Tavern in White Fryers this present Monday, will be Musick performed by Excellent Masters, beginning precisely at four of the Clock in the afternoon, and every afternoon for the future, precisely at the same hour. Roger North on Music: But how and by what stepps Musick shot up in to such request, as to croud out from the stage even comedy itself, and to sit downe in her place and become of such mighty value and price as wee now know it to be, is worth inquiring after. The first attempt was low: a project of old Banister, who was a good violin, and a theatricall composer. He opened an obscure room in a publik house in White fryars; filled it with tables and seats, and made a side box with curtaines for the musick. 1s. a peice, call for what you please, pay the reckoning, and Welcome gentlemen. Here came most of the shack [vagabond] performers to towne, and much company to hear; and divers musicall curiositys were presented, as, for instance, Banister himself, upon a flageolett in consort, which was never heard before nor since, unless imitated by the high manner upon the violin. But this lasted not long, nor another meeting of like kind neer Paul's (headed by one Ben. Wallington) for voices to an organ, where who would, that was gifted, might performe, and no payment, but the reckoning (ed. John Wilson [London, 1959], pp. 302-3)

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348. There is considerable uncertainty as to when the first performance occurred, but it appears to have been acted first at court. See Boswell, Restoration Court Stage, pp. 131-34. The first Prologue, written by Lord Mulgrove, and the second, written by Lord Rochester, are in A Collection of Poems Written upon several Occasions by several Persons (1673). Roger North: And now we turne to the Publik theatres. It had bin strange if they had not observed this promiscuous tendency to musick, and not have taken it into their scenes and profited by it. The first proffer of theirs, as I take it, was in a play of the thick-sculd-poetaster Elkanah Settle, called The Empress of Morocco; which had a sort of masque poem of Orfeus and Euridice, set by Mr M. Lock, but scandalously performed. It begins The Groans of Ghosts, &c. and may be had in print (Roger North on Music, ed. John Wilson [London, 1959], p. 306)

Event Comment: The King's Company. The date of the premiere is not known, but John Harold Wilson, Six Restoration Play-Dates, Notes and Queries, June 1962, p. 221, has argued, primarily on references in the Epilogue, that the play was probably produced before the opening of the new Theatre Royal in Drury Lane and following two unsuccessful plays: The Mall and The Amorous Old Woman. The Prologue is in New Songs and Poems a la Mode, 1677. Preface to the edition of 1675: This play was left in Mr Dryden's hands many years since. The Author of it was unknown to him, and return'd not to claim it

Event Comment: Evelyn, Diary: [I] heard Signor Francisco on the Harpsichord, esteem'd on[e] of the most excellent masters in Europe on that Instrument: then came Nicholao Matteis? with his Violin & struck all mute, but Mrs Knight, who sung incomparably, & doubtlesse has the greatest reach of any English Woman; she had lately ben roming in Italy: & was much improv'd in that quality: Then was other Musique, & this Consort was at Mr Slingsbys Master of the Mint, my worthy friend, & great a lover of musique. [For a contemporary account of Matteis, see Roger North on Music, ed. John Wilson (London, 1959), pp. 307-11.

Event Comment: G. Lady Chaworth to Lord Roos, 2 Nov. 1676: I have not yet seen Mr Pack, being att Lord Major's show when hee was heere....The pageants were but three and worse then others formerly, but the King, Queen, Duke and Duchess finer in both clothes, liveries, coaches and traine then ever, to the honour of the Citty (HMC, 12th Report, Part V, Rutland Papers, II, 31)

Event Comment: London Gazette, No. 1154, 7-11 Dec. 1676: On Thursday next the 14th instant, at the Academy in Little Lincolns-Inn Fields, will begin the first part of the Parley of Instruments composed by Mr John Banister, and perform'd by eminent Masters, at six a clock, and to continue nightly, as shall by Bill or otherwise be notifi'd. The Tickets are to be delivered out from one of the clock till five every day, and not after. An edition of Musick; or, A Parley of Instruments appeared in 1676, with a licensing date of 30 Oct. 1676. The text consists of lyric dialogues, a chorus, and solos, and is divided into three entertainments. Possibly this work was given earlier in the year, but this announcement is the first public one which has been noted

Event Comment: The Duke's Company. The date of the premiere is not known, but the fact that play was licensed for printing on 23 Feb. 1676@7 suggests a first performance about this time. The play was entered in the Term Catalogues, May 1677. Langbaine (English Dramatick Poets, p. 36) refers to this play as altered from Richard Brome's The Mad Couple

Event Comment: John Dryden to Lord Latimer, July 1677: But the Kings Comedy [probably Mr Limberham] lyes in the Sudds till you please to send me into Northamptonshyre: it will be almost such another piece of business as the fond Husband, for such the King will have it, who is parcell poet with me in the plott; one of the designes being a story he was pleas'd formerly to tell me; and therefore I hope he will keep the jeast in countenance by laughing at it...I have a farther honour to beg, that my Tragedy [All for Love], which will be acted at Michaelmasse, & is already written, may have the honour to be addressed to my Lord Treasurer; & that your Lordship and My Lord Mulgrave wil I hope beg together for me (The Letters of John Dryden, ed. Ward, pp. 11-12)

Event Comment: The Duke's Company. The date of the premiere is not known, but a licensing date of 18 Feb. 1677@8 suggests a premiere not later than January 1677@8. It is possible, however, that this play followed Sir Patient Fancy (17 Jan. 1677@8), as the licensing date of Timon follows that for Sir Patient Fancy. Part of the music for Timon was composed by Louis Grabu and was published, without the singers' names, in Choice Ayres and Songs, 1679. Downes (Roscius Anglicanus, p. 37): Timon of Athens, alter'd by Mr Shadwell; 'twas very well Acted, and the Musick in't well Perform'd; it wonderfully pleas'd the Court and City; being an Excellent Moral

Event Comment: The Duke's Company. The date of the first production is not known. It was not entered in the Term Catalogues until May 1678, but the very large number of new plays acted by the Duke's Company in the spring of 1678, many of them more precisely dated, makes it probable that this was an early spring production which had title success. The title page states: Written by a Person of Quality. Langbaine (English Dramatick Poets, 1691, p. 554) ascribes it to "Mr Rawlins." A Library of Congress copy has on the title page: "by L. Baker.

Event Comment: Evelyn, Diary: I dined at the Master of the Mints with my Wife, invited to heare Musique which was most exquisitely performed by 4 the most renouned Masters, DuPrue a French-man on the Lute: Signor Bartholomeo Albrici? Ital: on the Harpsichard: & Nicolao Matteis? on the Violin; but above all for its sweetenesse & novelty the Viol d'Amore of 5 wyre-strings, plaied on with a bow, being but an ordinary Violin, play'd on Lyra way by a German, than which I never heard a sweeter Instrument or more surprizing: There was also a Flute douce now in much request for accompanying the Voice: Mr Slingsby Master of the house (whose Sonn & Daughter played skillfully) being exceedingly delighted with this diversion, had these meetings frequently in his house