I accept a certain amount of risk as an occupational hazard of travelling in time, so I suppose I have to accept the consequences when I find myself in the middle of a hazardous situation, although to be honest, it doesn't happen very often.
One of the easiest ways I've found to infiltrate myself into a time and place is to join a travelling party early in the day as they prepare to set out. Of course, that also means I am accepting the same risk as my fellow-travellers, of being intercepted and robbed on the road, and in May of 1721 my complacency about the potential risk was confronted with the reality in the middle of Epping Forest, miles from the nearest village.
It took me a few minutes to realize what was happening when we were ordered to disembark from the coach in which we were travelling. A number of possible causes for our unscheduled halt ran through my mind:

• One of the horses had been lamed? (during the ride one of my companions told me how a couple of years ago, the Essex Gang, led by Mr.Turpin, sowed the road with caltrops, laming the horses of an express team in a most cruel manner).
  
  
• A wheel had come off the coach? (unlikely, the coach would probably have tipped)
• A fallen tree blocking the road?

When I saw the masked horseman pointing a flintlock pistol I got the shock of my adventurous life. One of the most notorious highwaymen of the period is "Dick" Turpin, originally an Essex lad, who served his apprenticeship as a butcher and has become notorious for his daring and violent robberies. He has already outlived the Essex Gang with whom he allied for a while; apparently his cavalier disregard for hazard was more than they felt their lives justified.
But it seems my concerns were not altogether justified; our interrogator's manners were very much those of a gentleman, assisting myself and an older lady in dismounting from the coach (not the easiest maneuver in a hoopskirt), and while he would not spare any coin or jewelry, at least he apologized to us for inconveniencing us so rudely.
X:1
T:Air XX, March in Rinaldo with Drums and Trumpets % title
T:Adapted by John Gay for The Beggar's Opera
C:                           % composer
O:http://www.gutenberg.org/files/25063/25063-h/music/air_XX.pdf % origin.
M:C                          % meter
L:1/8                        % length of shortest note
Q:                           % tempo
K:Bb                         % key
V:1                          % voice 1
z2 z2 DE | F4 F4 | F6 Bc | dcde d2 d2 |
w:Let us take the Road. Hark! I hear the Sound of Coach-es!
d4 f4 | dcde d2 d2 | d4 f3 e | e2 cd edcB |
w:The Hou-r of At-tack ap-proach-es, To your Arms, bra-ve Boy-s an-d
c6 || AB | c4 c4 | !trill! c6 f2 | FGAB c2 d2 |
w:load. See the Ball I hold! Let the Chy-mists toil like Ass-
e4 f3 e | d2 cd edcB | c2 F2 f3 e | dcBc !trill! c3 B |
w:es, Our Fire their Fi-re sur--pas--ses And turns all our Lead__ to_
B6 |]
w:Gold.




















Our assailant did, however, unhitch one of the team of horses, which he took with him. While the animal might not be broken to saddle, and difficult to ride, it still represents a considerable loss to the coaching company. The shortfall in the team means that any further progress will be painfully slow, and some of us will have to continue on foot, alongside the coach.
And I will probably have to explain to my director the loss of a couple of items of antique jewelry, which cannot be replaced.
The music, which I thought would be appropriate to this little adventure, is from the Beggar's Opera by John Gay, produced by John Rich, which as one wag put it,

made Gay rich, and Rich gay

After I got back here a little research suggested that the most likely identity for our assailant would be "Captain" King, so called because of his delightfully gallant manners!
To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Benjamin Britten's adaptation of a theme by Henry Purcell is used to introduce the various instruments, and instrumental types of a typical orchestra.

The Playhouse A Satyr,

by Robert Gould,

1685

The Middle Galle'ry first demands our View;
The filth of Jakes, and stench of ev'ry Stew!
Here reeking Punks like Ev'ning Insects swarm;
The Polecat's Perfume much the Happier Charm...

Discreet in this, their Faces not to shew;
The Mask the best Complexion of the two.
Their Noses falling and their Eyes sunk in,
A wrinkl'd Forehead and a Parchment Skin...

Choak't with the stench of Brimstone, 'twill be fit
To Visit next the Boxes and the Pit,
And for the Muse a Nobler Scene prepare,
And let Her breathe awhile in Milder Air.

But such a sudden Glare invades her Eyes,
So vast a Crowd of diffe'rent Vanities,
She knows where not to fix her Rancour first;
So very Wicked all, that all are worst!...

Such Giddy Insects here for ever come,
And very little Dare, but much Presume:
Perpetually the Ladies Ears they Ply,
And whisper Slander at the Standers by:

Then laugh aloud; which now is grown a part
Of Play-house Breeding, and of Courtly Art.
The true Sign of Your Modish Beau Garson
Is Chatt'ring like a Ladies lewd Baboon,

Shewing their Teeth to charm some pretty creature;
For Grinning, amoung Fops, is held a Feature...
All People now, the Place is grown so ill,
Before they see a Play shou'd make their Will:

For with much more Security , a Man
Might take a three Years Voyage to Japan.

Having walked north from Westminster Abbey we probably have an hour or two before Drury Lane theatre begins the evening performance, and since we're in the vicinity of several coffee houses it seems a good place to stop, wet our whistles and ask about what's playing.

Inside the atmosphere of mouth-watering coffee scent is underlaid by the whiff of smoke from clay pipes. The variety of coffees and chocolate on offer is bewildering, with so many spices and roasts to choose from I think we would be justified in spending a few minutes considering before we choose.

I'm glad you insisted on Will's Coffee House (can't miss it, look for the sign of the Rose), rather than the Turk's Head which I thought looked like a good bet. I've heard several people discussing recent plays since we settled at this table. The impression I get is that most of the plays aren't staged for very long; a week or two at most and the audiences are ready for something new.

The small huddle of gentlemen engaged in conversation a few tables over has been dwindling since we came in, and now the last two have left and I recognize the face of Mr.Dryden. I think we should invite him to join us at our table.

"Have I the honour of addressing Mr. Dryden?"

"You have, sir. Though few enough would count it an honour these days."

"Then might I invite you to share our table for a few minutes, and we shall count it both an honour and a pleasure, sir."

What I am hoping is that we might be able to find out if any of Dryden's plays are currently on the stage, but it seems that since he lost his position as Poet Laureate seven years ago, even his plays have lost their lustre with the public. I can quite understand his slightly melancholy mood.

However, as he tells us, he is free now to work on something that has interested him since his collegiate days; a translation of the works of Publius Virgilius Maro. Once he starts explaining the fascination of the classical poet's works, his face lights up with a new enthusiasm.

Returning eventually to the question of the London stage, I ask whether he knows what is playing at present, that might be worth the cost of admission.

It seems that the only play he feels would be worth our time, and that more for the theatrical music than the play itself, is a revival of Abdelazer, or The Moor's Revenge by the late Aphra Behn, as a series of benefit performances for the widow of Michael Mohun. Although she was widowed more than a decade ago, she has always been supportive of the acting community, and being unable to work because of increasingly painful arthritis, reluctantly sought their help.

While we are talking, we are joined once more by the familiar figure of Mr.Pepys. As soon as introductions have been made (I am flattered that Samuel Pepys remembers us by the sound of our voices, from our previous encounter in the Lloyds Coffee House), Mr.Pepys cautions us against the Orange Girls.

These traders visit the playhouses to sell fruit at extortionate prices, and Pepys himself tells us how:

The orange-woman did come in the pit and challenge me for twelve oranges, which she delivered by my order at a late play, at night, to give to some ladies in a box, which was wholly untrue, but yet she swore it to be true. But, however, I did deny it, and did not pay her; but , for quiet, did buy 4s.¹ worth of oranges of her, at 6d. a-piece.'

Dryden summarises the play for us as follows: it was published in 1657 and tells the story of a vengeful wicked Moor, whose kingdom has been vanquished by Spain, who tires of his affair with the lascivious Queen of Spain and plots with her to murder the King, thinking to murder her afterwards, and reign with his innocent young wife. However, the Queen in her turn kills his wife, and plots to take her son’s throne. It is full of action with armies engaged on stage, people in disguise escaping from imprisonment and torture and a final act in which the wicked are punished and the good prince wins the throne.²

If Mr.Dryden felt that the music for the play was better than the play itself, I can hardly disagree with him. From the play, here is Mr. Henry Purcell's Rondeau.

X:4                          % number
T:Rondeau                    % title
C:Henry Purcell              % composer
O:Music for Abdelazer or The Moor's Revenge (Dolce Edition) % origin.
M:3/4                        % meter
L:1/8                        % length of shortest note
Q:                           % tempo
P:ABACA
%%staves Sop | {Hr1 Hr2 Hl}
V:Sop name="Soprano" sname="S." clef=treble
V:Hr1 name="Harpsichord" sname="Hp." clef=treble
V:Hr2 clef=treble
V:Hl clef=bass
K:F                          % key
P:A
%1===============================2====================3================4=================
[V:Sop]|:  D2      F2      A2    | de/f/ g/f/e/d/ ^c2 | ad/f/ a/f/d b2 | gc/e/ g/e/c a2 |
[V:Hr1]|: [FDA,]2 [FDA,]2 [EA,]2 | F G/A/ B2 [AE^C]2  | A2 d2 d/B/G    | [cGC]4 c/A/F   |
[V:Hr2]|:  Z                     | D2     DG  z2      | D4    z2       | Z              |
[V:Hl] |:  d2      d2      c2    | B2     G2  A2      | f4    g2       | e4     f2      |
%
%5=====================6=================7=======================8==========================
[V:Sop] fB/d/ f/d/B g2 | eA/^c/ e/c/A f2 | e/f/e/d/ ^cf e/f/e/d/ | Ad ^c/d/e/c/ !fine! d2 :|
[V:Hr1] [BFD]4 B/G/E   | [AEA,]4 A/F/D   | [BD]2 [AE^C]2 [GD]2   | GF E2        [FDA,]2   :|
[V:Hr2] Z              | Z               | Z                     | ^CD A,2      z2        :|
[V:Hl]  d4     e2      | ^c4    d2       | G2        A2 B2       | A4           d2        :|
%
P:B
%9========================10=====================11=====================12=====================
[V:Sop] F2      A2    c2   | fg/a/ b/a/g/f/ ef/g/ |  ab/a/   ga/g/ fF/G/ |  ab/a/ ga/g/ Ff/e/ |
[V:Hr1] [CA,]2 [FC]2 [GC]2 | AB/c/ [dBF]2 [cGE]2  | [cAF]2  [cGC]2 A=B   | [cE]2 [GE]2 [cFC]2 |
[V:Hr2] Z                  | F2     z2     z2     |  z2      z2    F2    |  Z                 |
[V:Hl]  f4            e2   | d2     B2     c2     |  c2      B2    A2    |  c2    B2    A2    |
%
%13=========================14====================15====================16============================
[V:Sop]  de/d/  cd/c/  Bg/f/ | ef/e/   de/d/ Ca/g/ |  fg/f/  ef/e/ dg    |  cf       e/f/g/e/  f2    ||
[V:Hr1] [BFD]2 [cFC]2 [BGD]2 | [GEC]2 [GD]2 [AEC]2 | [AFD]2 [AE]2  AB/A/ | [GE][AF] [GEC]2    [AFC]2 ||
[V:Hr2]  Z                   |  Z                  |  z2     z2    FD    |  Z                        ||
[V:Hl]   B2     A2     G2    |  c2     B2    A2    |  d2     c2    B2    |  c4                 F2    ||
%
P:C
%17===============================18============================19=============================
[V:Sop] !trill! c>d c/d/e f/e/d/c/ | !trill! =B>c B/c/d e/d/c/B/ | !trill! c>d c/d/e f/e/d/c/ |
[V:Hr1] [AEC]4           [cE]2     | [=BE]4            [BE]2     | [AEC]4           [AFD]2    |
[V:Hr2]  Z                         |  Z                          |  Z                         |
[V:Hl]   a2         A2    a2       |  ^f2         e2    g2       |  a2         A2    d2       |
%
%20======================21============================22===========================23=============================
[V:Sop] !trill! c3 =B A2  |  !trill! e>f e/f/g a/g/f/e/ | !trill! f>g f/g/a b/a/g/f/ | !trill! e>f e/f/g a/g/f/e/ |
[V:Hr1]  A2 ^G2 [AEC]2    |  ^c>d        c/d/e f/e/d/c/ | d>e         d/e/f g/f/e/d/ | ^c>d        c/d/e f/e/d/c/ |
[V:Hr2] [E=B,]4  z2       | [AE]4              A2       | A4                B2       | A4                A2       |
[V:Hl]   e4      A2       |  a2          ^c'2  a2       | d'2         d2    g2       | a2          A2    d2       |
%
%24===========================================
[V:Sop][L:1/32] f6g2 !trill! g6fg !D.C.! a8 ||
[V:Hr1] [dAF]2 [dGD]2 [^cAE]2               ||
[V:Hr2]  Z                                  ||
[V:Hl]   dc     B2     A2                   ||
To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].
If you know the music of Benjamin Britten, you might also recognize this as the theme for his "Young Person's Guide to the Orchestra".

Notes

1. English currency before decimalisation:

2. I would like to acknowledge Dawn Lewcock's article for a summary of the plot.

"'at's Queen Mary. She choked on a plum."
"she did not. You bin listenin' to Possle again encha? 'E don't know nuffin' so 'e makes it up."
My two young advisers are a couple of Thames mudlarks, urchins who, in the absence of better employment, contribute to their families welfare by searching the mud of the riverbank at low tide for dropped valuables and the occasional coin. Although they're equally likely to be found knocking hats off unwary heads with a well-aimed stone. And only the sharpest wits are ever likely to see exactly where the missile originated.
"'ere 'e is nah. Wotcha Possle!"
"Permit me to introduce myself sirs. I have the honour to be your humble servant, Oliver Postlethwaite, apothecary surgeon".
Possle is a rather tatty-looking character with stockings that don't quite match and a pervasive odour of stale urine.
"If I may be so bold sir, your complexion suggests that you suffer from a weakness of the stones, for which I can offer a very efficacious remedy."
He may be half-wasted, but Possle's diagnosis is worryingly accurate, at least to the point of identifying that I have a very feminine appearance.
We are here on the edges of a crowd that is still assembling outside Westminster Abbey to pay our final respects to the late Queen Mary(or just take advantage of an excuse to close the shop for an hour or two). As the funeral procession approaches, the drumbeat changes while remaining consistent.
Tan tan tan ta-ta tan
Tan ta-ta tan tan tan
Ta-ta tan tan ta-ta tan
Tan tan ta-ta tan tan
Until inside the Abbey, a final TAN-TAN! marks the halt.
I can't see anybody signalling from here at the back of the crowd, but it seems somebody has performed a very deft sleight-of-hand, because, precisely as the catafalque entered the abbey, the organ began a sombre tune in perfect time to the drumbeat.
Among the other vendors working the crowd is a ballad-seller with something very unusual, and very interesting to me: a copy of Purcell's Ode on the Birthday of Queen Mary composed only eight months earlier for the celebrations.
X:3
T:Strike the viol            % title
C:Henry Purcell              % composer
O:William F. Long transcription % origin.
N:http://www.drdrbill.com/music.html
M:3/4                        % meter
L:1/8                        % length of shortest note
Q:60                         % tempo
%%staves Ct { ( Hr1 Hr2 ) ( Hl ) }
V:Ct name="Countertenor" sname="Ct" % voice 1
V:Hr1 name="Harpsichord" sname="Hp" clef=treble
V:Hr2 clef=treble
V:Hl clef=bass
K:C                          % key
%1======================2============================3==================4=============================
[V:Ct]   Z              | Z                          |: e>d c2 dB       | c2 A2 z2                   |
w:Strike__ the_ vi-ol,
[V:Hr1] [ECA,]4 [EDB,]2 | [ECA,]2 z [FCA,] [EB,^G,]2 |: [ECA,]4 [EDB,]2 | [ECA,]2 z [FCA,] [EB,^G,]2 |
[V:Hl]  A3 a ^ge        | a2 z d eE                  |: A2 z a ^ge      | a2 z d eE                  |
%
%5======================6============================7==================8============================
[V:Ct]  e>d c2 dB       | c2 A2 z2                   | c2 z2 B/c/d      | B2 z2 cG                  |
w:strike__ the_ vi-ol, touch, touch,__ touch, touch_
[V:Hr1] [ECA,]4 [EDB,]2 | [ECA,]2 z [FCA,] [EB,^G,]2 | [ECA,]4 [FB,A,]2 |[FB,G,]2 z [DB,G,] [ECG,]2 |
[V:Hl] A3 a ^ge         | a2 z d eE                  | A3 a fd          | g2 z g ec                 |
%
%9===============================10==================11================12============================
[V:Ct][L:1/16] ABc2 BA3G3 ^F      |[L:1/8] E4 z2      | A^GAc B2        | c4 z2                     |
w:touch,__ touch__ the Lute; wake___ the Harp,
[V:Hr1] [FCA,]2 z [FCA,] [DB,G,]2 | [ECG,]4 [EB,^G,]2 | [ECA,]4 [EDB,]2 | [ECA,]2 z [FCA,] [EB,^G]2 |
[V:Hl] f2 z d gG                  | c2 z d eE         | A2 z a ^ge      | a2 z d eE                 |
%
%13====================14==========================15========================16============
[V:Ct] A^GAc B2         | c4 z2                     | cBce d2                 | e4 dc     |
w:wake___ the Harp; wake___ the Harp, in-
[V:Hr1] [ECA,]4 [EDB,]2 | [ECA,]2 z [FCA,] [EB,^G]2 | [ECA,]2 z [ECG,] [DG,]2 | [ECG,]6   |
[V:Hl] A2 z a ^ge       | a2 z d eE                 | A2 z c BG               | c2 z d ec |
%
%17=======================18========================19========================20==================
[V:Ct][L:1/16] B3cABcdc3 B |[L:1/8] c4 z2            | cBcd e2                 | e4 dc           |
w:spire______ the Flute; wake___ the Harp, in-
[V:Hr1] [FB,A,]4 [FB,G,]2  | [ECG,]3 [FCA,] [DB,G,]2 | [ECG,]2 z [ECG,] [DG,]2 | [ECG,]4 [GCG,]2 |
[V:Hl] f3 d gG             | c3 d GG,                | C2 z c BG               | c3 d ec         |
%
%21========================22==================23========================24=============================
[V:Ct][L:1/16] B2c2Bcd2c3 B |[L:1/8] c4 z2     :| c4 z2                   |: z2 G2 G2                  |
w:spire_____ the flute; flute; Sing, your
[V:Hr1] [FB,A,]4 [FB,G,]2   | [ECG,]4 [EC^G,]2 :| [ECG,]2 z [FCA,] [DBG]2 |: [ECG,]2 z [FCA,] [DB,G,]2 |
[V:Hl] f3 D gG              | c2 z d cB        :| c2 z F GG,              |: c2 z F GG,                |
%
%25============================26==========================27===============28===========================
[V:Ct] G4 G2                    | ABAB c2                   | B4 z2          | z2 d2 d2                 |
w:Pa-tro-ne----ss's praise, Sing your
[V:Hr1] [ECG,]2 z [ECG,] [DG,]2 | [ECG,]2 z [ECA,] [^FCA,]2 | [GDB,]4 [ADC]2 | [GDB,]2 z [GEC] [^FDA,]2 |
[V:Hl] C2 z c BG                | c2 z A dD                 | G2 z g ^fd     | g2 z c dD                |
%
%29===================30==========================31================32===============33==================
[V:Ct] d3e d2          | dedf e2                   | f4 d2           | z2 B2 e2       | z2 A2 cB        |
w:Pa--tro-ness's____ praise, Sing, sing, sing, sing in_
[V:Hr1] [GDB,]4 [ADC]2 | [GDB,]2 z [FDA,] [E^CA,]2 | [FDA,]4 [ADA,]2 | [GDB,]4 [GEC]2 | [FCA,]4 [FDG,]2 |
[V:Hl] G2 z g ^fd      | g2 z d aA                 | d2 z e fd       | g2 z g ec      | f2 z f dB       |
%
%34=======================35=========================36================37=======================
[V:Ct] ^GE/^F/GFGF/E/      | AA/B/cBc/B/A             | dB/c/dcd/c/B    | cc/d/ede/d/c         |
w:cheer----------
[V:Hr1] [EB,^G,]4 [^GEB,]2 | [AEA,]2 z [^GEB,] [AEC]2 | [GDB,]4 [GFB,]2 | [GEC]2 z [GFD] [EC]2 |
[V:Hr2] Z36                                                             | z4 GA                |
[V:Hl] e2 z B eB           | c2 z e ae                | f2 z d gd       | e2 z d cA            |
%
%38=============39==========================40==========================41====
[V:Ct] fedc B A  | AB A/B/c BA               |[1 A4 z2                  :|[2 A6      |]
w:----full and har--mo---nious_ lays.
[V:Hr1] [^GFB,]6 | [AEC]2 z [FCA,] [EB,^G,]2 |[1 [ECA,]2 z [ECG,] [DG,] :|[2 [ECA,]6 |]
[V:Hl] e2 z B cA | e2 z d eE                 |[1 A2 z c BG              :|[2 A6      |]
To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

To listen to the Funeral March for Queen Mary II, click the gramophone.

I don't know about you, but after the funeral, I feel like something a bit more cheerful. What say we totter along to Drury Lane and see if Mr.Dryden has something new to entertain us?

This is an organ performance of the funeral march composed for the funeral of Queen Mary II. During her lifetime she did very little in terms of making decisions, deferring instead to her husband Prince William of Orange, and it was he, who after her death, continued to rule.
In a subtle irony, the music is perhaps best known for its use in Stanley Kubrick's "A Clockwork Orange".

We bustle along with the other members of the congregation beneath a sullen, gray sky towards the church of St. Boniface, in the little German town of Arnstadt, in the princedom of Thuringia, deep in the heart of Germany. My hope is that today, Easter Sunday (March 23rd) 1704, we might have an opportunity to hear, or even meet, the nineteen-year old organist who was appointed here just last year. Not yet out of his teens and already, the name of Johann Sebastian Bach is known to everybody with more than a passing interest in music. He was invited to inspect, and give the inaugural recital on the organ in the church last summer, so I have great expectations for this visit.
The Lutheran divine service of this time takes a while, so we should make ourselves comfortable. We can probably expect to be here for at least the next two hours, possibly three.
Settling in one of the unoccupied pews toward the back of the church, a distant rumble of thunder is audible. It's a little unusual to hear thunder this early in the year, but what follows is a genuine delight! The unseen organist opens the swell box of his instrument and lets rip with an answering thunderclap that echoes before entering into a virtuosic musical evocation of raindrops pattering against the windows and the tiled roof! By the end of the Twentieth Century scholars were increasingly uncertain whether J.S.Bach had in fact composed the Toccata and Fugue attributed to him. Given the frequency with which he borrowed musical ideas from other composers, and reworked his own earlier compositions, I think the confusion is understandable.
Here is the abc notation for the chorale we sung that morning, arranged for guitar: Wachet auf, ruft uns die stimme

X:1
T:Wachet auf, ruft uns die stimme % title
C:Johann Sebastian Bach % composer
O:Dirk Meineke-d.meineke@web.de % origin.
M:C                          % meter
L:1/8                        % length of shortest note
Q:60                         % tempo
%%staves (1 2)
V:1 clef=treble name="Guitar" % voice 1
V:2 clef=treble
%
K:C
[V:1]       G2 | c/d/e ed fe GF | e/c/d FE Bc z G | c/d/e ed fe GF |
[V:2][L:1/4] z | C     C  C  E, | F,    G, C    z | C     C  C  E, |
%
[V:1] e/c/d FE Bc z g | g2 f/e/d/c/ d/c/B/A/ GA/B/ | c/d/e/d/ f/e/d/c/ ed dG |
[V:2] F,    G, C  z   | E, A,       G,       F,    | E,       C        G, B, |
%
[V:1] e^f fg c/B/c CA | ^fg ga c/B/c Dc'| b/a/g g/^f/g E/f/e/d/ c/B/A/G/ |
[V:2] C   B, A,    C  | D   E  ^F    D  | G     ^F     E        D        |
%
[V:1] A/B/c c/B/c A,/^f/g/a/ g/f/e/d/ | gB     BA/G/ G/c/B/A/ B[GD] |
[V:2] C     B,    A,         C        | B,/G,/ D/D/  E,/B,/   G,    |
%
[V:1] E>^F  F>G   [GD]3  G | c/d/e ed fe GF | e/c/d FE Bc z G |
[V:2] C/A,/ D/A,/ [B,G,]>z | C     C  C  E, | F,    G, C  z   |
%
[V:1] c/d/e ed fe GF | e/c/d FE Bc z g | g2 f/e/d/c/ d/c/B/A/ GA/B/ |
[V:2] C     C  C  E, | F,    G, C  z   | E, A,       B,       F,    |
%
[V:1] c/d/e/d/ f/e/d/c/ ed   B,c | ab bc' f/e/f  ca    | bc' c'd' f/e/f Fd |
[V:2] E,       C        G/F/ B,  | B, D  G,/A,/ B,/F,/ | D   G    A     F  |
%
[V:1] e/d/c A/B/c c/_b/a/g/ f/e/d/c/ | d/e/f D/e/f G,/B/c/d/ c/B/A/G/ |
[V:2] G     A     F/E/      D/C/     | B,    D     G,/A,/    G,/F,/   |
%
[V:1] gc     e/d/c/B/ c/f/e/d/ ec   | A>B  B>c       c4-| c8     |]
[V:2] E,/A,/ F,/B,/   A,/B,/   C/E/ | F/D/ G/G,/ [GEC]2-| [GEC]4 |]

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

From Lully's musical setting of Moliére's play "La Bourgeois Gentilhomme". The music of the baroque era has been dismissed variously as outmoded, unnecessarily ornate, and too intellectually demanding to be appealing.
The people who made this music had no radio, no television, no movies. So their entertainment had to entertain.
Jordi Savall adapted this music, along with other pieces from the era, as incidental music for the motion picture "Tous les matins du monde" (all the mornings of the world), the story of Monsieur de Sainte Coulombe, arguably the greatest viol player of the age, as recollected by his spurned would-be pupil Marin Marais.