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.