Clio & Euterpe Online: Early Musicians

Amateur music in England differed widely from its counterpart in the American colonies of the mid 18th century, especially with regard to the sexes. In England it was not considered particularly masculine to play a musical instrument. Men were socially limited to what instruments might be socially appropriate. Parents reluctantly agreed to allow their sons to play musical instruments. If a man were to enjoy playing the harpsichord, for example, he could be derided by his social peers, as this was considered a “feminine” pastime.

"The Harpsichord, Spinnet, Lute and Base Violin, are Instruments most agreeable to the Ladies: There are some others that really are unbecoming to the Fair Sex; as the Flute, Violin and Hautboy; the last of which is too Manlike, and would look indecent in a woman's mouth; and the Flute is very improper, as taking away too much of the Juices, which are otherwise more necessarily employ'd, to promote the Appetite, and assist Digestion."
—John Essex from his Conduct Book of 1722“

As to the harpsichord [as an instrument for a young man] - I once sat playing upon that instrument, in a room next [to] the square where I lived. As two gentlemen were passing the window, I heard one of them exclaim, -'I hate to see a man at the Harpsichord!' I had never before annexed the idea of effeminacy to that instrument; but from that moment, I began to be of that gentleman's opinion.”
—John Berkenhout in his book of advice to his son. 1730

That is not to say men did not play music; when one has an affinity for music it is difficult to deny it, and many men did play. For women, however, learning music and singing was considered a social necessity, being a prerequisite for an advantageous marriage, and music was considered an important facet of their education. Many women, once married, never played again.

Waites Music
In 15th & 16th century England, each locality or township had waites (or watchman) musicians. The original function of these were to keep the people informed of news and patrol the streets at night declaring that all was well marking the hours by playing their instruments. By the early 17th century they had formed into "Town Bands" - London Waites, Chester Waites, etc., each having its signature tune or song. Some became renowned for singing, and the Waites name was given to those who would roam around town singing carols at Christmas. They were called out to welcome dignitaries, and one would know of the importance of the visitor by the presence of the town's Waites Band. By the 18th century, these town Waites Bands had degenerated into bands of ruffians, reputedly of small talents, who would roam the streets accosting any person who looked as though they had coin in their purse, and play their instruments loudly until the unfortunate person was forced to pay them to play elsewhere. Hogarth's "The Enraged Musician" depicts what could be a Waites Band disturbing the peace of a music master's lessons:

“We Blundered on in pursuit of our Nights Felicity, but scarce had walk'd the length of a Horses Tedder, e'er we heard a Noise so dreadful and surprising that we thought the Devil was riding on Hunting through the City with a Pack of deep-Mouth'd Hell-Hounds, to catch a Brace of Tally-men for Breakfast. At last bolted out from the corner of a Street, with an Ignis Fatus Dancing before them, a parcel of strange Hobgoblins cover'd with long Frize Rugs and Blankets, hoped round with Leather Girdles from their Cruppers to their Shoulders; and their Noddles button'd up into Caps of a Martial Figure, like a Knight Errant at Tilt and Tunament, with his Wooden-head lock'd in an Iron Helmet; one Arm'd, as I thought, with a lusty Faggot-Bat, and the rest with strange Wooden Weapons in their hands in the shape of Clyster-Pipes, but as long, almost as Speaking Trumpets. Of a sudden, they clap'd them to their Mouths, and made such a frightful Yelling that I thought the World had been Dissolving, and the Terrible Sound of the last Trumpet to be within an Inch of my Ears.

"Under these amazing apprehensions, I ask'd my Friend what was the meaning of this Infernal outcry? Prithee, says he, what's the matter with thee? Thou look'st as if thou wert Gally's; why these are the City Waites, who play every Winters Night thro' the Streets to rouse each Lazy Drone to Family Duty. Lord Bless me! said I, I am very glad its no worse; I was never so fear'd since I pop'd out of the Parsley bed. Prithee let us make haste out of them, or I shall be forced to make a Close stool-pan of my Breeches. At which my Friend laugh'd at me. Why, what, says he, don't you love Musick? These are the Topping Tooters of the Town; and have Gowns, Silver-Chains, and Sallaries for playing Lilla Bolaro to my Lord Mayors Horse thro' the City. Marry sid I, if his Horse lik'd their Musick no better than I do, he would soon fling his rider for hiring such Bugbears to affront his Ambleship. For my part, when you told me they were Waites, I thought they had been the Polanders, and was never so afraid, but that their Bears had been Dancing behind them.”
—Ned Ward, “The London Spy, Compleat in Eighteen Parts.The First Volume of the Author Writings” 1709.

Ornamentation & Performance
• No embellishment! My recitative is only for speaking, I want it to be absolutely plain.”
—Jean-Baptiste Lully, Brussells, 1705

• Ornamental passages must be such that the main notes, on which the ornamentations are made, shall not be overshadowed”
—Joachim Quantz, Brussels, 1752

• You must practise all the ornaments in all their fullness... Avoid a profusion of ornamental figures, which only confuse the melody and obscure its beauty”
—Jean Rousseau, Paris, 1687

• The trill is one of the most important ornaments, without which the melody is very imperfect.”
—Bénigne de Bacilly, Paris, 1668

• If you worked as hard as I, you would play as well.”
—J.S. Bach, when praised for his virtuosity.

©2008 Sona Hairabedian, Gene Tozzi "Clio & Euterpe or British Harmony Online"
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