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EJV Holland Purcell and the Seventeenth-Century Voice, An The University of Sheffield E. J. V. Holland Purcell and the Seventeenth-Century Voice, An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music PhD (Performance Studies) 2002 Purcell and the Seventeenth-Century Voice,0 An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music Elizabeth Jane Violet Holland PhD (Performance Studies) Department of Music University of Sheffield June 2002 Acknowledgments I wish to express my gratitude to the following individuals for their help and advice during the researching and writing of this thesis. Firstly, my thanks to my academic supervisor, Mr. Tony Bennett (University of Sheffield) for his support and advice. I would also like to thank Professor Eric Clarke (University of Sheffield) for suggestingstandard deviation as the most suitable method for the statistical calculation of tessitura, and Dr. John Powell (University of Nottingham) and Mr. Luke Jobling BSc for confirming the scientific validity of the final statistical formula. i Elizabeth J. V. Holland Purcell and the Srventeen th-Century Voic c An Inv estigation of Singers and Voice Ty pes in H!cnry Purc ell's Voca l Music0 Abstract This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenthcentury. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addressesthe issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. Chapter Two discussesthe bass voice, in particular the influence of individual singersin creating voice-type subdivisions,and the dramatic and musical stereotyping of this voice type in Purcell's works. The third in detail chapter takes as its subject Purcell's sopranosand trebles, focussing on the dramatic individual singersin his works for the London stage,their vocal characteristics, stereotyping, and musical influence on the composer. Chapter Four uses the 'lost" characteristics of each voice type identified in previous chapters to reassign the into voice types of Purcell's chamber songsand, in conjunction with research actresses, literature and theatrical convention of the period, provides a first performancevoice-type insight into cast list for the opera Dido and Aeneas, as well as offering the possible individuals for whom the work may have been intended. Finally, all the above information gathered is combined with knowledge of seventeenth-centurysinging day techniques gleaned from contemporary sourcesand the work of modem scholarsto in 'historically- offer advice on the modem performance of Purcell's vocal works a informed' manner. Contents Preface iv Introduction I Chapter One: Henry Purcell and the Counter-Tenor Voice 14 Chapter Two: Henry Purcell's Bass Songs 47 Chapter Three: Henry Purcell's Stage Sopranos and Trebles 74 Chapter Four: Reallocating 'Lost' Voice Types 128 Conclusion: Seventeenth-Century Voice Types and 166 Singers in Purcell's Music: Realisation in Modern Performance Appendices 174 Bibliography 191 Pre The purpose of this study is to establish the vocal characteristicsof the singers and voice types for whom Purcell wrote in London in the seventeenthcentury through the study of Purcell's solo vocal music. Each voice type will be discussed,chapter by chapter, in order to establish the method(s) of vocal production used by Purcell's singers, the range subdivisions within the 'standard' voice types, and the dramatic and musical stereotyping of each voice type in Purcell's works, as well as the vocal characteristicsof individual singers.The Purcellian voice--typecharacteristics identified will then be used to reassign the 'lost' types Purcell's voice of chamber songs and, in conjunction with research into actresses,,literature and theatrical convention of the period, to establish the originally intended voice-type for each role in the opera Dido andAeneas, as well as offering insight into the possible individual performersfor whom the work may have been written. Finally, all the information gatheredwill be combined with knowledge of seventeenth-centurysinging techniquesgleaned from contemporary sources and the work of modem day scholars to offer advice on the modem performance of Purcell" s vocal works in a 'historically-informed" manner. in order to carry out this study, certain unique researchmethods have had to be developed.Firstly, a catalogueof Purcell's solo vocal works has been createdto provide the raw material for this research.Secondly, since one of the key elementsin defining voice type is range, a method for the calculation of tessiturahas been devised in order to investigate more precisely the generaltrends identified by range. The Purcell Song Catalogue The 'Holland' Purcell catalogue, compiled for the purpose of this study,,is a record of all the solo vocal music written by Henry Purcell which falls Within certain iv analytical criteria. Items included in the catalogue are not necessarily self-contained, tonic-cadencing 'songs' in the traditional sense,but may be movements or sections of larger works. That said, such items are only included if it can be reasonablysupposed that there are no musical agendasbehind their composition other than suiting the voice and subject in question; in effect, that they are composedfor their own sakerather than as inter-movement linking devices or to serve other such purely structural functions. For similar reasons,.recitative 'conversations', dialogue songsand songs with duet sections have not been included, since the presenceof another voice may compromisethe style which the composer uses for both voices. Similarly, extended solos whose musical material is later developedinto an ensembleor chorus are disregarded,since the original solo version may have been composedwith the limits of the ensuingensemble in mind; the normal boundariesof range and tessitura which the composerhas resourceto when writing for a solo voice may be constrainedand suppressedin order to ensurea smooth transition from one medium to another, Songs of uncertain attribution and songs with new words fitted to Purcell's tunes have been omitted,,since theseworks throw up other issues which confuse and interfere with this particular area of research.1n addition, songs with Latin texts have not been included since they representan entirely different corpus of music and cannot be consideredusing the same criteria as songs written in English. The purpose of the catalogue is to provide basic information about each song which can then be used to detect similarities among songs composed for the same voice-type or singer. This will shed light on seventeenth-centuryvoice-types and the voices of individual singerswith whom Purcell worked, and identify any concessionshe made to them in his music. Ultimately this will make it Possible to discover the differences between seventeenth-centuryand modem voices, and to develop a strategy of historically informed performancein the twenty-first century. V Of all the elements which make up a song, vocal range is the defining one for the purposes of this study. The highest and lowest notes of a song are a key to the composer's expectationsof the voice he was writing for at a specific time. Nevertheless, the extremesof range give only a vague impression of the demandsof a song, and must be qualified by the examination of tessitura to form the complete picture. Tessitura is not an easy element to define, but in basic terms it is the most frequently used part of a certain musical range - not the most frequent individual notes, but the most frequently used pitch area. Investigation of tessitura can help to give a clearer picture of the characteristics of seventeenth-centuryvoice-types by identifying more precisely any subdivisions within voice-types and revealing just what special qualities were held by the foremost singers of the day. It is hoped that it will help to solve the debate of whether the tenor and counter-tenorvoices were separateentities. Perhapsit may even be the key to allocating the vocal parts for the large number of published chambersongs in the treble-clef which have hitherto existed without nomenclature. In his 1996 article on voice ranges and pitch in Purcell's odes, Timothy Morris justified his method of investigating pitch standard change through vocal range as follows: The method used in this study, that of investigating the vocal rangesinvolved, is open to the criticism that, while it cataloguesthe extremes of pitch in Henry Purcell's music, it ignores questions of tessitura.... The only possible defence of this method is that any other would involve entering every note of every part into a computer; numerical estimatesof tessitura could then be produced by statistical calculations! Whilst Morris' investigation involved choral textures, this study is concernedwith the solo voice alone. This means that such a method of statistical calculation instantly becomes more feasible, particularly considering the relatively limited number of songs 'Morris, T; 'Voice Ranges, Voice Types and Pitch in Purcell's ConcertedWorks', Pqforming the Music qfHenry Purcefi (Oxford 1996), 131. vi ' has been included in the catalogue created for the purposesof this study. it therefore decided to follow Morris' lead by making statistical calculations of tessitura in order to investigate seventeenth-century voice-types more fully. As explained above, tessitura is not simply the collection of pitches in between the most frequent high and low notes, but the overall pitch area where the vocal line lies most often in a song. This means that to calculate tessitura not only the frequency of each individual pitch in the vocal line (i. e. the number of times it occurs) but also its duration must be taken into account.Once calculated,this information alone is still subject to influence by 'rogue notes pitch or pitches which although used frequently are separatedfrom the 'real' tessitura,by a collection of pitches in between which are hardly used at all.
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