Restoration Keyboard Music
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LCOM182 Lent & Eastertide
LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas -
Dr. John Blow (1648-1708) Author(S): F
Dr. John Blow (1648-1708) Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 43, No. 708 (Feb. 1, 1902), pp. 81-88 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3369577 Accessed: 05-12-2015 16:35 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 137.189.170.231 on Sat, 05 Dec 2015 16:35:56 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1902. 81 THE MUSICAL composerof some fineanthems and known to TIMES everybodyas the authorof the ' Grand chant,'- AND SINGING-CLASS CIRCULAR. and William Turner. These three boys FEBRUARY I, 1902. collaboratedin the productionof an anthem, therebycalled the Club Anthem,a settingof the words ' I will always give thanks,'each young gentlemanbeing responsible for one of its three DR. JOHN BLOW movements. The origin of this anthem is variouslystated; but the juvenile joint pro- (1648-I7O8). -
Theatre of Magic Programme Notes
Theatre of Magic PROGRAMME NOTES The English flocked to the theatres when they were reopened after the Restoration. Old plays by Shakespeare, Beaumont, and Fletcher were reworked and eventually supplemented by works by new playwrights. Music, dance, and spectacle were gradually added to complement the drama. The English had not yet embraced opera as it was understood on the Continent, but the amount of music added to the plays became too significant to ignore, and the English writer Roger North invented the term “semi-opera” to describe these entertainments of “half Musick and half Drama.” The leading parts continued to be spoken by actors, while vocal music was allotted to minor characters, whose contributions were essentially diversions, rarely essential to the action. To this was added instrumental music to accompany dance, set the mood, or accompany scene changes. Our concerts this week open with excerpts from two of these semi-operas, both adaptations of Shakespeare’s magical plays, The Tempest and A Midsummer Night’s Dream. Matthew Locke was arguably England’s leading composer at the time of the Restoration in 1660. He became very active in London’s commercial theatres, contributing music for countless plays. He is best known today for the instrumental music he wrote for The Tempest, produced by Thomas Shadwell in 1674. The text of the semi-opera was adapted by Shadwell from an earlier adaptation (1667) of Shakespeare’s original by John Dryden and William Davenant. Shadwell’s version of the play remained popular for some 75 years. Locke’s opening Curtain Tune is particularly striking: it is a musical depiction of the storm that precedes the play, complete with detailed instructions to the performers (including the instruction to play “Violently” at the height of the storm). -
Lully's Psyche (1671) and Locke's Psyche (1675)
LULLY'S PSYCHE (1671) AND LOCKE'S PSYCHE (1675) CONTRASTING NATIONAL APPROACHES TO MUSICAL TRAGEDY IN THE SEVENTEENTH CENTURY ' •• by HELEN LLOY WIESE B.A. (Special) The University of Alberta, 1980 B. Mus., The University of Calgary, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS • in.. • THE FACULTY OF GRADUATE STUDIES SCHOOL OF MUSIC We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1991 © Helen Hoy Wiese, 1991 In presenting this hesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Signature) Department of Kos'iC The University of British Columbia Vancouver, Canada Date ~7 Ocf I DE-6 (2/68) ABSTRACT The English semi-opera, Psyche (1675), written by Thomas Shadwell, with music by Matthew Locke, was thought at the time of its performance to be a mere copy of Psyche (1671), a French tragedie-ballet by Moli&re, Pierre Corneille, and Philippe Quinault, with music by Jean- Baptiste Lully. This view, accompanied by a certain attitude that the French version was far superior to the English, continued well into the twentieth century. -
Appendix: Catalogue of Restoration Music Manuscripts Bibliography
Musical Creativity in Restoration England REBECCA HERISSONE Appendix: Catalogue of Restoration Music Manuscripts Bibliography Secondary Sources Ashbee, Andrew, ‘The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time: Studies in English Consort Music (Oxford: Clarendon, 1996), 243–70. Ashbee, Andrew, Robert Thompson and Jonathan Wainwright, The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 2 vols. (Aldershot and Burlington: Ashgate, 2001–8). Bailey, Candace, ‘Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177’, Royal Musical Association Research Chronicle, 32 (1999), 119–35. ‘New York Public Library Drexel MS 5611: English Keyboard Music of the Early Restoration’, Fontes artis musicae, 47 (2000), 51–67. Seventeenth-Century British Keyboard Sources, Detroit Studies in Music Bibliography, 83 (Warren: Harmonie Park Press, 2003). ‘William Ellis and the Transmission of Continental Keyboard Music in Restoration England’, Journal of Musicological Research, 20 (2001), 211–42. Banks, Chris, ‘British Library Ms. Mus. 1: A Recently Discovered Manuscript of Keyboard Music by Henry Purcell and Giovanni Battista Draghi’, Brio, 32 (1995), 87–93. Baruch, James Charles, ‘Seventeenth-Century English Vocal Music as reflected in British Library Additional Manuscript 11608’, unpublished PhD dissertation, University of North Carolina at Chapel Hill (1979). Beechey, Gwilym, ‘A New Source of Seventeenth-Century Keyboard Music’, Music & Letters, 50 (1969), 278–89. Bellingham, Bruce, ‘The Musical Circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, Journal of the Viola da Gamba Society of America, 19 (1982), 6–71. -
Program Notes to Henry Purcell but Now Considered to Be by His Student John Weldon
1704 once again sported a new score first attributed Program Notes to Henry Purcell but now considered to be by his student John Weldon. In William Shakespeare’s Twelfth Night music is called the “food of love,” and indeed music played a Purcell’s own contribution to Shakespearean vital part in his plays. Fanfares heralded music drama is his 1692 semi-opera, The Fairy performances. Sweet ayres and songs filled with Queen. Purcell had already composed an innuendo, sung by servants and clowns, commented impressive body of incidental music for plays by on the actions of their betters. And a merry jig would Shadwell, Dryden, and William Congreve. (This conclude the day’s drama, be it a comedy, tragedy, includes the celebrated “Music for a while” from or romance. In Shakespeare’s “wooden O” the Dryden’s Oedipus.) His one “pure opera” is the musicians’ loft was as essential as the unworthy miraculous miniature, Dido and Aeneas. Yet it is his scaffold on which your imaginary forces worked. semi-operas where Purcell’s most accomplished scores for the theatre are to be found. His Little of the music presented in the Globe during preceding efforts in the genre, Dioclesian and King Shakespeare tenure survives. The doomed Arthur, were enormous successes and the music of Desdemona likely sang this folk melody to the The Fairy Queen exceeds them both in length, “Willow Song” in Othello. “Full fathom five” by complexity, and dramatic scope. It is a very loose Robert Johnson, lutenist to Shakespeare’s King’s adaptation of A Midsummer Night’s Dream, but Men theatrical troupe, was probably performed in Purcell did not set any of Shakespeare’s text. -
Jean Clay Radice, Organ Jean Clay Radice
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 8-31-2012 Faculty Recital: Jean Clay Radice, organ Jean Clay Radice Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Radice, Jean Clay, "Faculty Recital: Jean Clay Radice, organ" (2012). All Concert & Recital Programs. 3894. https://digitalcommons.ithaca.edu/music_programs/3894 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Faculty Recital: Jean Clay Radice, organ Ford Hall Friday, August 31, 2012 7:00 p.m. Program Four Centuries of Organ Music in the Anglican Tradition Voluntary for Double Organ Henry Purcell (1659-1695) Voluntary I in D Major William Boyce (1711-1779) On a Theme of Orlando Gibbons (Song 34) Charles Villiers Stanford The Angels' Song, Op.105, No.1 (1852-1924) Intermezzo Founded Upon an Irish Air, Op.189 On a Theme of Orlando Gibbons (Song 22), Op.105, No.4 Three Preludes Founded on Welsh Hymn Ralph Vaughan Williams Tunes (1872-1958) I. Bryn Calfaria II. Rhosymedre (or "Lovely") III. Hyfrydol Psalm-Prelude, Op.32, No.2 Herbert Howells Dalby's Fancy, from Two Pieces for Organ Manuals (1892-1983) Only Prelude on "Slane" Gerry Hancock (1934-2012) Alleluyas Simon Preston At his feet the six-winged Seraph; Cherubim with (b. 1938) sleepless eye, Veil their faces to the Presence, as with ceaseless voice they cry, Alleluya, Alleluya, Alleluya, Lord most high. -
Robert Shay (University of Missouri)
Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper. -
John Blow, Jesus Seeing the Multitudes, Ed
John Blow, Jesus seeing the multitudes, ed. Alan Howard, October 2009 Introduction, p. i ____________________________________________________________________________________________________ INTRODUCTION Despite being more numerous than his symphony anthems with strings, Blow’s verse anthems with organ accompaniment are far less well known. Scholarly attention has understandably concentrated on the more glamorous and, on the whole, more accomplished orchestral anthems, all of which are now available in modern editions in the Musica Britannica series. A number of the verse anthems were printed by Boyce in his Cathedral Music in 1760-3, and a handful of others have appeared in separate editions and collections of English sacred music since, but the only recent edition devoted to Blow’s non-orchestral anthems is the collection of eight full and “full-with-verse” anthems in A Blow Anthology.1 The present edition constitutes the first modern scholarly edition of Blow’s verse anthem “Jesus seeing the multitudes.” The particular interest of this piece is not just its quality, but also the fact that Blow seems to have made two versions of the piece, both of which survive in autograph manuscripts: at Christ Church, Oxford, and at the British Library. The original anthem was written in the early 1670s, during the period in which he was organist of Westminster Abbey. By this time Blow was already involved in the music of the Chapel Royal, becoming a Gentleman in March 1674 (n.s.) in the place of Roger Hill,2 though the absence of the anthem from the “Catalogue of Severall Services & Anthems that have been transcribed into the Books of His Maties Chappell Royall since Anno 1670 to Midsumer 1676” suggests that it was not in regular use in the Chapel at this time.3 Neither was it sung there by the early 1680s, judging from the fact that it does not appear in any of John Gostling’s scorebooks.4 Nevertheless, the large number of sources of the anthem copied during the period c. -
Rev. William Davenant) Three Musical Settings of the Witches’ Scenes in Macbeth Survive
Folger Shakespeare Library Performing Restoration Shakespeare 1. Manuscripts Macbeth (rev. William Davenant) Three musical settings of the witches’ scenes in Macbeth survive. The first, by Matthew Locke, only survives in fragmentary form (see printed sources below). The second, by John Eccles, dates from ca. 1694. The third setting, by Richard Leveridge, dates from ca. 1702 and was performed well into the 19th century. The Folger holds several important sources for the Macbeth music, as noted below. (Charteris 108) W.a.222-227 and W.b.554-564 Partbooks copied ca. 1800 with later additions. Volumes were used in, and probably compiled for, the Oxford University Music Room concerts. Leveridge’s Macbeth music appears in W.a.222-227 and W.b.554-561. (Charteris 115) W.b.529 Copied in the late eighteenth century. The first section consists of miscellaneous pieces, whereas the second section is devoted to Richard Leveridge’s Macbeth, which includes theatrical cues. (Charteris 117) W.b.531 Manuscript score with John Eccles’s Macbeth music. Copied from Lbl. Add. Ms. 12219 by Thomas Oliphant in the mid-nineteenth century. (Charteris 122) W.b.536 Manuscript score with Richard Leveridge’s Macbeth music. Copied in late eighteenth century. (Charteris 123) W.b.537 Manuscript score with Leveridge’s Macbeth music. Copied in the early eighteenth century with later additions. First owner of the manuscript was almost certainly the Drury Lane Theatre. (Charteris 126) W.b.540 Manuscript score with Leveridge’s Macbeth music. Copied in the mid-eighteenth century. (Charteris 131) W.b.548 Manuscript score with Leveridge’s Macbeth music. -
Purcell's Early Years Background Henry Purcell Is Believed to Have Been Born in 1659 Near Westminster Abbey in London England
webpage1 Page 1 of 2 Purcell's Early Years Background Henry Purcell is believed to have been born in 1659 near Westminster Abbey in London England. Henry's parents are believed to be Henry the court composer, Senior, and his wife Elizabeth. Little is known about our hero's childhood, as might be suggested from the speculation over his origins. Many of the following statements are based on related facts that given time and place, may be used to hypothesize the specifics of where and what Henry was doing at a specific point in time. Henry Senior and his brother Thomas were both actively involved as court musicians in London. Henry Senior died early, likely as a victim of the plague that devastated much of London in 1666. Thus, Thomas Purcell, our hero's uncle, had more influence on the early years of the young musician than did his father. Thomas must have exposed Henry to music thus prompting Henry's mother, Elizabeth, to send her son off to become a choirboy in the Chapel Royal: "Elizabeth Purcell was a single mother on a limited incomeso the opportunity for one of her boys to be given a decent education, clothed and fed must have been most welcome." (King, 59) It was common for a boy between the ages of eight and nine to become a chorister and continue his training until puberty when the voice began to break. Probable Training In 1668 at the age of about eight Henry became a member of the boy's choir at the Chapel Royal under the supervision of Henry Cooke, Master of the Children. -
The London St. Cecilia's Day Festivals and the Cultivation of a Godly Nation Paula Horner a Thesis Submitted in Partial Fulfil
The London St. Cecilia’s Day Festivals and the Cultivation of a Godly Nation Paula Horner A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2012 JoAnn Taricani, Chair Stephen Rumph Program Authorized to Offer Degree: Music TABLE OF CONTENTS ACKNOWLEDGEMENTS ii INTRODUCTION 1 CHAPTER ONE 5 Celebrating English Artistry CHAPTER TWO 24 Music, Church and State CHAPTER THREE 38 From Secular Saint to Civil Sermon CONCLUSION 68 APPENDIX I: 70 Movements and performing forces of Blow’s 1691 ode APPENDIX II: 72 Movements and performing forces of Purcell’s 1692 ode BIBLIOGRAPHY 74 i Acknowledgements I would like to express my sincerest gratitude to JoAnn Taricani, whose unwavering support and frank criticism have urged this thesis to its current state. I would also like to thank Stephen Rumph, whose refusal to pull punches is both notorious and well-appreciated. My colleagues at the University of Washington have been invaluable sources of encouragement and scholarly inspiration; I thank Kirsten Sullivan for her keen critical mind, Leann Wheless Martin for her curiosity and refreshing groundedness, Sarah Shewbert for her unbridled enthusiasm, and Samantha Dawn Englander for her passion and solidarity. Additional thanks extend to my family and friends whose support has led me here. Finally, a particular expression of gratitude goes to Kris Harper, for his unflagging patience and relentless faith in me. ii INTRODUCTION In the late seventeenth century, major cities across England marked St. Cecilia’s Day with a musical celebration. While Oxford, Winchester, and Salisbury hosted these yearly festivals with some frequency, the tradition was established most firmly in London, where St.