BIBLIOGRAFIA ESSENZIALE SU E

a cura di Claudio Toscani

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100 M. Duffy, Henry Purcell, London, 1994. ments: The English Dramatick Operas, in En - P.Holman, Henry Purcell, Oxford, 1994. glish Drama: Forms and Developments, a cu- M .A d a m s, Henry Purcell: The Origins and ra di M. Axton e R. Wi l l i a m s, C a m b r i d g e, Development of His Musical Style , Ca m b r i d g e, 1977, pp. 123-141, 232-234. Cambridge University Press, 1995. C. A. Price, Music in the Restoration Theatre, M . B u r d e n , Purcell Remembered , L o n d o n , Ann Arbor, 1979. 1995. J. M c D o n a l d , Matthew Lock e ’s “The English Purcell Studies , a cura di C. A . P r i c e, C a m- O p e r a ”and the Theatre Music of Purcell , i n bridge, 1995. «Studies in Music», XV (1981), pp. 62-75. The Purcell Companion, a cura di M.Burden, D. C h a r l t o n , “King A r t h u r ” : A Dramatick London, 1995. Opera, in «Music and Letters», LXIV (1983), Performing the Music of Henry Purcell, a cu- pp. 183-192. ra di M. Burden, Oxford, 1996. C. A . P r i c e, Henry Purcell and the London D. Fabris e A.Garofalo, Henry Purcell, Paler- S t a g e , C a m b r i d g e, Cambridge University mo, L’Epos, 1999. Press, 1984. R. Shay e R. Thompson, Purcell Manuscripts: C. A . P r i c e, Political Allegory in Late Seven - The Principal Musical Sources , C a m b r i d g e, teenth-Century English Opera , in Music and 2000. Theatre:Essays in Honour of Winton Dean, a A . M i l l e r, The Roman Triumph in Purcell’s cura di N. Fortune, Cambridge, 1987, pp. 1-29. O d e s , in «Music and Letters», 83 (2002), p p. U. Schreiber, Halbe Opern:eine ganze Sache? 371-382. Henry Purcell und die Anfänge der englischen W. Weber e D. B u r r o w s, Henry Purcell and Oper, in «Neue Zeitschrift für Musik», 148/4 “The Universal Jou r n a l ” :The Building of Mu - (1987), pp. 4-7. sical Canon in the 1720s , in Music and History: J. J. M u l l e r-van Santen, Producing “ T h e Bridging the Disciplines , Jackson (MS), U n i- P r o p h e t e s s ” or the History of Dioclesian , versity Press of Mississippi, 2 0 0 5 ,p p. 18 1 - 1 9 9 . diss., Università di Amsterdam, 1989. J. Muller, Words and Music in Henry Purcell’s B. Studi sul teatro di Henry Purcell First Semi-Opera, “ D i o c l e s i a n ” , L e w i n s t o n W. B. S q u i r e, P u r c e l l ’s Dramatic Music , i n (NY), 1990. «Sammelbände der Internationalen Musik- A . P i n n o c k , P l ay into Opera: P u r c e l l ’s “ T h e gesellschaft», V (1903-04), pp. 489-564. Indian Queen” , in «Early Music», X V I I I A. C. Sprague, Beaumont and Fletcher on the (1990), pp. 3-21. Restoration Stage, Cambridge (MA), 1926. M . A . R a d i c e, Theatre A r chitecture at the E . J. D e n t , Foundations of English Opera , Time of Purcell and Its Influence on His Cambridge, 1928 (rist. New York, 1965). “Dramatick Operas”, in «The Musical Quar- J. Str. Manifold, The Music in English Drama terly», LXXIV (1990), pp. 98-130. from Shakespeare to Purcell, London, 1956. B. Wood e A. Pinnock, “The Fairy Queen”: A F. B. Zi m m e r m a n , Purcell and Monteverdi , in Fresh Look at the Issues , in «Early Music», «The Musical Tim e s » , XCIX (1958), pp. 36 8 - XXI (1993), pp. 44-62. 36 9 . R.Shay, Dryden and Purcell’s “”: E. W.White, Early Theatrical Performances of Legend and Politics on the Restoration Stage, P u r c e l l ’s Operas , in «Theatre Notebook», in King Arthur in Music, a cura di R. W. Bar- XXIII (1958-59), pp. 43-65. ber, Cambridge, 2002. R. E. Moore, Henry Purcell and the Restora - tion Theatre, London, 1961. C. Su Dido and Aeneas A . M . L a u r i e, P u r c e l l ’s Stage Wo r k s , d i s s. , W. B. Squire, Purcell’s “Dido and Aeneas”, in University of Cambridge, 1962-63. «The Musical Times», 59/904 (1918), pp. 252- J. B u t t r e y, The Evolution of English Opera 254. between 1656 and 1695: A Re-investigation , E .W. Wh i t e, New Light on “Dido and A e - diss., University of Cambridge, 1967. neas”, in Henry Purcell (1659-1695), a cura di R . S a v a g e, The Shakespeare-Purcell “ Fa i r y I. Holst, London, 1959, pp. 14-34. Queen”: A Defence and Recommendation , in A . L e w i s, Purcell and Blow ’s “ Venus and «Early Music», I (1973), pp. 201-221. A d o n i s ” , in «Music and Letters», X L I V R . L u c k e t t , E x o t i ck but Rational Entertain - (1963), pp. 266-269.

101 J. Buttrey, Dating Purcell’s Dido and Aeneas, A . Wa l k l i n g, The Dating of Purcell’s “ D i d o in «Proceedings of the Royal Musical A s s o- and Aeneas”, in «Early Music», XXII (1994), ciation», 94 (1967-68), pp. 51-62. pp. 469-481. R.Savage, Producing “Dido and Aeneas”:An B. Wood e A. Pinnock, “Singin’ in the Rain”: Investigation into Sixteen Problems, in «Early Yet More on Dating “ D i d o ” , in «Early Mu- M u s i c » , IV (1976), p p. 393-406 (trad. i t . i n sic», XXII (1994), pp. 365-367. Early Music: scritti sull’opera e sul teatro in A . Wa l k l i n g, Political Allegory in Purcell’s musica, Roma, 1984, pp. 47-66). “Dido and Aeneas”, in «Music and Letters», L’avant-scène opéra, n. 18, 1978 (numero de- LXXVI (1995), pp. 540-571. dicato a Dido and Aeneas). M . B u r d e n , “Great minds against themselves Henry Purcell: Dido and Aeneas, a cura di C. co n s p i r e ” :Ta t e ’s Dido as a Conspiracy Th e o r- Price, New York, 1986. is t , in A Woman scron’d:Responses to the Di - E .T. H a r r i s, Henry Purcell’s “Dido and A e - do Myth , L o n d o n , Faber & Fa b e r, 1 9 9 8 , p p. neas”, Oxford, 1987. 22 7 - 2 4 7 . H.E a s t m a n , The Drama of the Pas s i o n s :Ta t e M. McDonald, Sing Sorrow: Classics, History, and Purcell’s Characterisation of Dido , in «The and Heroines in Opera ,We s t p o r t ,C o n n e c t i- Musical Quarterly», LXXIII (1989), p p. 3 6 4 - cut, Greenwood, 2001. 38 1 . J. Schmalfeldt, In Search of Dido, in «Journal M . G o l d i e, The Earliest Notice of Purcell’s of Musicology», 18/4 (2001), pp. 584-615. “Dido and Aeneas”, in «Early Music», XVIII E . H o l l a n d , Henry Purcell’s “Dido and A e - (1990), pp. 392-400. neas”:A Strategy for Historical-Informed Ro - B. Wood e A.P i n n o c k , “U n s c a r r’d by turning le-Allocation in the Twenty-First Century , i n ti m e s ” ? :The Dating of Purcell’s “Dido and Ae - «BPM Online», 5 (2002), http://www.bpmon- ne a s ” , in «Early Music», XX (1992), pp. 37 2 - line.org.uk/. 39 0 . W. H e l l e r, A Present for the Ladies: O v i d , C. A. Price, “Dido and Aeneas”: Questions of M o n t a i g n e, and the Redemption of Purcell’s Style and Evidence , in «Early Music», X X I I “ D i d o ” , in «Music and Letters», 84 (2003), (1994), pp. 115-125. pp. 189-208.

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