DOCSLIB.ORG

886447307618.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
886447307618.Pdf henry Purcell 1659–1695 matthew Locke Orchestral Works 1621–1677 henry purcell henry purcell king arthur, z. 628 the fairy queen, z. 629 1 Act I: Overture 2.06 15 Lilk 0.50 29 Prelude 1.42 2 Act II: Introduction 1.13 16 Curtain Tune 5.35 30 Act I: Hornpipe 1.22 3 Act II: Symphony 0.36 17 Rustick Air 1.15 31 Act I: Rondeau 1.02 4 Act II: How blessed are 18 The Second Act Tune, Minoit 0.45 32 Act I: Entry Dance 1.37 the shepherds 4.58 19 Corant 1.00 33 Act III: Hornpipe 1.00 5 Act III: Prelude 0.49 20 A Martial Jigge 1.41 34 Act III: Dance for the Fairies 1.14 6 Act III: Hornpipe 0.39 21 A Canon 4 in 2 2.28 35 Act V: Prelude 1.09 7 Act V: Symphony I: 36 Act II: Air 2.06 Andante maestoso 1.53 henry purcell 37 Act V: Chaconne 3.01 8 Act V: Symphony II 1.08 dioclesian, z. 627 9 Act V: Fairest Isle 3.27 22 First Musick 2.16 10 Act V: Grand Dance 3.39 23 First Act Tune 0.58 24 Second Act Tune 0.39 matthew locke 25 Two in One upon a Ground. 3.08 the tempest Chaconne for Flutes 11 Introduction 1.03 26 Third Act Tune 0.38 12 Galliard 1.18 27 Soft Music – Butterfly Dance 2.38 13 Gavot 1.12 28 Dance of Bacchanals 1.20 14 Sarabrand 4.23 VOX ORCHESTER LORENZO GHIRLANDA 2 VOX ORCHESTER Jonas Zschenderlein, Judith von der Goltz, Jakob Lehmann, Won-Ki Kim, Lena Rademann violin/Violine I Christian Voß, Alexandre Turmel, Anna Kaiser, Pablo Griggio violin/Violine II Nadi Perez Mayorga, Yoko Tanaka, Hsu-Mo Chien viola Karl Simko, Julia Nilsen-Savage violoncello Luis Miguel Arias Polanco double-bass/Kontrabass Jan Nigges recorder/Blockflöte · Sanghee Lee bassoon/Fagott Mauro Pinciaroli lute/Laute · Alexander von Heißen harpsichord/Cembalo LORENZO GHIRLANDA direction/Leitung For more information about the artists / Für mehr Informationen über die Künstler: www.voxorchester.de 3 Recorded: 2–6 September 2018, Auditorio Stelio Molo RSI, Lugano-Besso, Lugano, Switzerland · Production management: Jan Nigges Recording producer: Giovanni Conti (RSI Radiotelevisione svizzera) · Recording engineer: Michael Rast (Radiotelevisione Svizzera) · Total time: 67.40 Artwork: Christine Schweitzer · Cover painting: Queen Elizabeth I – The ‘Phoenix’ portrait ·associated to Nicholas Hilliard ·Booklet photos: Marc Holstein P & g 2019 Sony Music Entertainment Germany GmbH www.sonyclassical.com Many thanks to our supporters / Herzlicher Dank gilt unserer Unterstützern: Vogel & Detambel Cronstett- und Hynspergische evangelische Stiftung 4 Very british? englische barockmusik für hof und theater Die vorliegende Aufnahme präsentiert Instrumentalwerke von Henry Purcell (1659–1695) und Matthew Locke (1621–1677), zwei der be- rühmtesten Komponisten Englands nach John Dowland (1563–1626) und vor der Ankunft Georg Friedrich Händels (1685–1759) in London. Die Frage danach, ob etwas originär britisch an ihrer Musik ist, führt zurück zu den Anfängen der Gattung Oper in Italien zu Beginn des 17. Jahrhunderts. Vor allem dem großen Claudio Monteverdi (1567–1643) verdankt die Musikgeschichte die Einführung eines neuen Gesangsstiles, der Textver- ständlichkeit und Affektausdruck proklamiert und auf virtuose Koloraturen und komplizierte kontrapunktische Satztechnik tendenziell verzichtet. Sein L’Orfeo von 1607 kann nach ersten zaghaften Gehversuchen anderer Komponisten als Startschuss für die Form der Oper bezeichnet werden. Orpheus ist nicht zufällig der Protagonist, denn er galt seit der klassischen Antike als die Verkörpe rung des Gesanges schlechthin. Auf magische Weise konnte seine Kunst Steine erweichen, zu Tieren sprechen, jeden Menschen – ja sogar die finsteren Mächte der Unterwelt – rühren. Dabei war sein Gesang buchstäblich schlicht und ergreifend, und auch Monteverdi wählt für den Gesang des Orfeo die Stimme des Herzens. Jener schlichte Stil konnte sich in seinem Heimatland Italien jedoch nicht lange halten, zu henry purcell painting by john closterman 5 schnell forderten Kastraten und Primadonnen ihre Rechte auf halsbreche- Gebilde hervor, treffend als Maskeraden, als masques, bezeichnet – mit lied- rische Partien ein, die den Hörer nicht allein bewegen, sondern ihm vor artigem Gesang, Tanz und Kostümen. Später entwickelten sich größere allem den Kopf verdrehen wollen. Die Folge war eine Trennung zwischen Werke, in welchen, verteilt auf mehrere Akte, auch theatralische, rein deklamierendem Stil im Recitativo und virtuoser Manier in der Aria. gesprochene Teile eine gewichtige Rolle einnahmen und in der Musikge- Der sprachverbundene Stil Monteverdis feiert jedoch ausgerechnet in schichte fortan unter dem Namen semi-opera geführt wurden. Purcells einem Land, das mit der italienischen Musik eigentlich nie etwas hatte King Arthur und seine Fairy Queen, eine opulente Neufassung von William anfangen können, Erfolge: in Frankreich. Hier schätzt man neben Musik Shakespeares Sommernachtstraum, sind gute Beispiele dafür. Track 4 „How vor allem Literatur und Theater. In einer zeitgenössischen Quelle heißt es blessed are shepherds“ und Track 9 „Fairest Isle“ stellen instrumentale vom Sänger, dies sei „ein guter Schauspieler mit einer schönen Stimme“. Fassungen einer im Original gesungenen Version dar und vermitteln einen Vor allem aber werden in Frankreich der Tanz und das Ballett zelebriert – so- schönen Eindruck von der betont kantablen, liedhaft schlichten Umsetzung wohl bei Hofe als auch auf der Bühne. Kompositorisch gepflegt wird die der Textvorlage. Gattung der Suite, einer Abfolge diverser Tanztypen: Courante, Menuet, Vor allem in der vorliegenden Zusammenstellung von Instrumentalstücken Sarabande, Gigue, Chaconne und dergleichen. Und jene Tänze mit ihren aus Lockes The Tempest – nach Shakespeares Drama Der Sturm – tauchen oft hochartifiziellen Choreographien spielten dann auch im Rahmen der zahlreiche Tanzsätze auf. Fragt man nach ihrem Charakter, kann Der Voll- Oper eine große Bedeutung: Das französische Publikum erwartete ausge- kommene Capellmeister, ein Traktat zur musi kalischen Ästhetik der Barockzeit dehnte Balletteinlagen und virtuose Solo- oder Paartänze ebenso wie des Hamburger Musikgelehrten Johann Mattheson von 1739, Auskunft präch tige Kulissen und eine beeindruckende Bühnenmaschinerie. Für geben. Demzufolge ist „das Wesen der Gavotte die jauchzende Freude“, Koloraturarien „alla italiana“ fehlte indessen jedes Verständnis. der Charakter der Sarabande „die Ehrsucht“, der Affekt des Menuettes Wie sahen aber die Verhältnisse in England aus? Man könnte sagen wie in „eine mäßige Lustigkeit“, der Ausdruck der Courante „die süße Hoff- einem melting pot, einem Schmelztigel; denn Elemente der italienischen nung“, das Wesen der Jigg ein „hitziger Eifer“. Allein die Hornpipe taucht und der französischen Musik trafen aufeinander, wobei auf der Opern- in Matthesons Liste von Tanztypen nicht auf, denn dieser Tanz ist typisch bühne eindeutig der deklamierende frühe italie nische Stil vorherrschte – englisch und war in Deutsc h land zu jener Zeit offenbar kaum bekannt. kombiniert mit den klassischen Elementen der französischen Tanzsuite. Jeder der genannten Tänze hat stets einen bestimmten Charakter, vorge- Was die Vorliebe für den Tanz anlangte, orientierte sich der englische Hof geben durch seine Taktart und einen einprägsamen Rhythmus. Folgt man der an Frankreich, am leuchtenden Vorbild des „Sonnen königs“ Louis XIV. und Trackliste unserer Aufnahme, stößt man auf weitere Satzbezeichnungen dessen rauschhafter Hofhaltung in Versailles. Erste Versuche der Engländer wie „Tune“, „Simphonie“ oder „Air“, womit Musikstücke bezeichnet sind, auf dem Gebiet der Oper brachten zu nächst kurze, mitunter nur einaktige die keinem der französischen Tänze folgen, sprich als freie Instrumental- 6 musik ohne festgelegten Rhythmus und Takt zu sehen sind – und somit in die Nähe von Sätzen aus einem italienischen Concerto oder einer Sonata rücken. „Very british“ ist also kaum eines der eingespielten Stücke, deren lose Ab folge von französischem und italienischem Stil allerdings die ty- pisch englische „melting pot“ Sprache spricht – eine Sprache, die inter- national aufhorchen ließ! Arcangelo Corelli (165–1713), weltberühmt für seine Kompositionen für Streicher, wollte die Bekanntschaft des großen Engländers Purcell machen. Auf hoher See erreichte ihn die Nachricht vom frühen Tod des britischen Kollegen. Glaubt man den Chronisten, so hat Corelli seine Pläne geändert und gesagt, nun sehe „sein Fuß keine Veranlassung mehr, englischen Boden zu betreten“. Was war geschehen? Purcells Ehefrau hat nach wiederholten Androhungen von Hausverbot schließlich den abermals angetrunkenen Henry nachts nicht mehr ins gemeinsame Haus gelassen. Vor der Tür ist er vor Kälte erfroren – bereits zu Lebzeiten gefeiert als „Orpheus Brittanicus“. Glaubt man den Gerüchten, liegt in jenem Namen¯ für Purcell auch der Grund seines Todes; denn wie sich in der antiken Sage die rasenden Erynnien an Orpheus tödlich gerächt haben, weil er nach dem Tod seiner Geliebten Eurydice allen Frauen abgeschworen und der Knabenliebe gefrönt hat, so wur den nach Orpheus alle jene großen Musiker, die Anhänger der gleich- geschlechtlicher Liebe waren, für den Wissenden als „Orpheus“ bezeichnet. Stoff genug für ein eigenes Bühnenwerk, dessen Musik Purcell selbst aber leider nicht mehr liefern konnte …! g Dr. Karsten Erik Ose 7 Very british? english baroque music for court and theatre The present recording presents instrumental works by Henry Purcell (1659–1695) and Matthew Locke (1621–1677), two of England’s most fa- mous composers after John Dowland (1563–1626) and before the arrival of George Frideric Handel (1685–1759) in London. The question
Load more

Recommended publications
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Restoration Keyboard Music
    Restoration Keyboard Music This series of concerts is based on my researches into 17th century English keyboard music, especially that of Matthew Locke and his Restoration colleagues, Albertus Bryne and John Roberts. Concert 1. "Melothesia restored". The keyboard music by Matthew Locke and his contemporaries. Given at the David Josefowitz Recital Hall, Royal Academy of Music on Tuesday SEP 30, 2003 Music by Matthew Locke (c.1622-77), Frescobaldi (1583-1643), Chambonnières (c.1602-72), William Gregory (fl 1651-87), Orlando Gibbons (1583-1625), Froberger (1616-67), Albert Bryne (c.1621-c.1670) This programmes sets a selection of Matthew Locke’s remarkable keyboard music within the wider context of seventeenth century keyboard playing. Although Locke confessed little admiration for foreign musical practitioners, he is clearly endebted to European influences. The un-measued prelude style which we find in the Prelude of the final C Major suite, for example, suggest a French influence, perhaps through the lutenists who came to London with the return of Charles II. Locke’s rhythmic notation belies the subtle inflections and nuances of what we might call the international style which he first met as a young man visiting the Netherlands with his future regal employer. One of the greatest keyboard players of his day, Froberger, visited London before 1653 and, not surprisingly, we find his powerful personality behind several pieces in Locke’s pioneering publication, Melothesia. As for other worthy composers of music for the harpsichord and organ, we have Locke's own testimony in his written reply to Thomas Salmon in 1672, where, in addition to Froberger, he mentions Frescobaldi and Chambonnières with the Englishmen John Bull, Orlando Gibbons, Albertus Bryne (his contemporary and organist of Westminster Abbey) and Benjamin Rogers.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Philharmonia Baroque Orchestra Sunday / July 18 / 4:00Pm / Venetian Theater
    SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S.
    [Show full text]
  • PURCELL COLLECTION Opera, Albion and Albanius, Which Was Set to Music EXTENSIVE LINER NOTES by the Spanish Composer Luis Grabu and Performed in 1685
    PURCELL COLLECTION opera, Albion and Albanius, which was set to music EXTENSIVE LINER NOTES by the Spanish composer Luis Grabu and performed in 1685. Six years later, after the Glorious Revolution had stripped Dryden of the CD1+2 Laureateship, and poverty had forced him once ‘King Arthur’: Purcell’s Music and Dryden’s Play again to write for the public stage, he dusted off John Dryden called King Arthur ‘A dramatick the old play, altered its original political message, opera’, a proud and idiosyncratic subtitle which and sent it to Purcell, whose music he had come to has caused much confusion. It has been said admire, especially the brilliantly successful semi‐ unfairly that this work is neither dramatic nor an opera Dioclesian (1690). opera. To be sure it is not like a real opera, nor could it be easily turned into one. King Arthur is How much revision the play required is unknown, very much a play, a tragi‐comedy which happens to since the original version does not survive, but include some exceptionally fine music. During the Dryden implies major surgery: ‘… not to offend the Restoration, the term ‘opera’ was used to describe present Times, nor a Government which has any stage work with elaborate scenic effects, and hitherto protected me, I have been oblig’d…to did not necessarily mean an all‐sung music drama. alter the first Design, and take away so many The original 1691 production of King Arthur, Beauties from the Writing’. Besides trimming for though it included flying chariots and trap‐door political reasons, he also had to satisfy his new effects, was modest compared to other similar collaborator: ‘the Numbers of Poetry and Vocal works.
    [Show full text]
  • Purcell, Locke, Blow & Gibbons
    b0087_WH booklet template.qxd 17/04/2017 17:13 Page 1 The English Concert Harry Bicket Rosemary Joshua Sarah Connolly Purcell, Locke, Blow & Gibbons b0087_WH booklet template.qxd 17/04/2017 17:13 Page 2 The English Concert Harry Bicket director, harpsichord, organ Rosemary Joshua soprano Sarah Connolly mezzo-soprano Recorded live at Wigmore Hall, London, on 10 March 2015 Matthew Locke (c.1622–1677) Suite from The Tempest (1674), Part 1, Nos. I–V 01 The First Musick: Introduction 00.54 02 The First Musick: Galliard 01.19 03 The First Musick: Gavot 00.46 04 The Second Musick: Saraband 03.31 05 The Second Musick: Lilk 00.46 henry PurceLL (1659–1695) 06 If music be the food of love Z379b 1st setting/1st version (?1691/2) 01.58 07 Draw near, you lovers Z462 (1683) 03.51 08 Oh! the sweet delights of love 01.50 (a duet for the two Wood-Gods) from Dioclesian Z627 (1690) Matthew Locke Suite from The Tempest Part 2, Nos. VI–XI 09 The Second Musick: Curtain Tune 04.18 10 The Second Musick: The First Act Tune ‘Rustick Air’ 01.08 11 The Second Musick: The Second Act Tune ‘Minoit’ 00.43 12 The Second Musick: The Third Act Tune ‘Corant’ 01.00 13 The Second Musick: The Fourth Act Tune ‘A Martial Jigge’ 01.14 14 The Second Musick: The Conclusion ‘A Canon 4 in 2’ 01.48 2 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 3 henry PurceLL 15 Music for a while from Oedipus Z583/2 (?1692) 03.57 16 Oh! fair Cedaria hide those eyes Z402 (?c.1689–92) 04.05 17 My dearest, my fairest from Pausanias, the Betrayer of his Country Z585 (1695–6) 02.07 John BLow (1649–1708)
    [Show full text]
  • S P R I N G 2 0
    Published by the American Recorder Society, Vol. LVI, No. 1 • www.americanrecorder.org spring 2015 Editor’s ______Note ______ ______ ______ ______ Volume LVI, Number 1 Spring 2015 Features hear from members how much they look workshop issue forward to the spring “ ” A Higher Place of Awareness, —hereI it is, covering everything from mak­ A Spirit that Soars . 13 ing a recorder to improving skills in many areas, musical and geographical (page 13) . The annual look at summer workshops, give or take a couple of months To be a better player, you must under­ 4 stand an important basic skill necessary for playing well in a group (or at a workshop): Departments tuning . In recent issues, Gustavo Francisco has kindly shared his expertise with AR Advertiser Index . 40 readers . Put on your thinking caps to learn Compact Disc Reviews . 27 more about the science of tuning (page 9) . Quinta Essentia Quartet, Wayward Sisters, For years, even those of us “inside” Stefan Temmingh the editorial process sometimes have been Education . 9 uncertain about whether a piece relating to Gustavo de Francisco digs into the science of tuning 6 chapters or consorts (or now recorder orch­ estras) belonged in the department pages of Music Reviews . 29 AR or in the ARS Newsletter’s frequent items Music you might aspire to play at workshops, from Ut Orpheus Edizioni, Lost in Time Press, relating to those ensembles . Confused read­ PRB Productions, and by Harold Owen ers may now find clarity, as all ensemble announcements and reports (including AR’s On the Cutting Edge . 24 “Chapters, Consorts & Recorder Orches­ A conversation about the Elody between guest tras”) unite in an expanded ARS Newsletter .
    [Show full text]
  • Thematic Index Music for Viols
    THE VIOLA DA GAMBA SOCIETY OF GREAT BRITAIN THEMATIC INDEX OF MUSIC FOR VIOLS On-Line Edition 2008 Update: July 2021 COMPILED BY GORDON DODD WITH REVISIONS AND ADDITIONS BY ANDREW ASHBEE CONTENTS Introduction 3 Acknowledgements 3 Key 6 Select Bibliography 8 Author Index for Bibliography 29 Sources (Introduction) 33 Early Editions and Facsimiles 35 Publishers and Modern Editions 51 Manuscripts in British Libraries 58 Manuscripts I Libraries outside Britain 70 Index of Composers 82 Revised and New Pages added since 2004 86 file 02 Anon (a) (staff notation) /2: two-part works A-2BC: works for treble/violin, bass viol and organ/continuo /3 three-part works four-part works five-part works six- and seven-part works A-B2: works for two or more bass viols A-BA: works for bastarda A-B1: works for solo bass viol A-B/Bc: works for solo viola da gamba and continuo/bass A-CS: consort songs A-DI: Divisions on a ground file 03: Anon (with introduction); tablature tunings beginning with ‘d’ file 04: Anon; tablature tunings beginning with ‘e’ file 05: Anon; tablature tunings beginning with ‘f’ file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staff notation); Playford T (= tablature pieces); AB = Playford, Apollo’s Banquet (1st series) Index of Composer Names files A-Z: Alphabetical Index by Composer INTRODUCTION (by Gordon Dodd) Indexing within the Viola da Gamba Society began with the gift by Robert Donington of the card index which he had assembled while writing his thesis on English instrumental music,1 and which was maintained by Nathalie Dolmetsch until, in 1965, the material was entrusted to Gordon Dodd.
    [Show full text]
  • Henry Purcell
    Composers Name ......................................... Bach - Handel - Purcell Sheet 7 Henry Purcell - 1659 - 1695 his early years When Henry Purcell was a little boy, he would have played in the cobble-stone lanes around his home in London with his little brother, Daniel, who was only one year younger than Henry. He grew up to be a composer as well. Some sad things happened during their childhood years. Henry was only about six years old when the Great Plague spread to London. This was a terrible disease that killed about a hundred thousand people in only one year. When Henry was seven years old he lived through the great fire of London as well. It lasted for five days and destroyed most of the city because most of the buildings were made of wood. After that, Henry saw the city being rebuilt, but this time the buildings were made out of brick and stone so they were much safer and better looking. Henry had a fine singing voice. This was not surprising because both his father and uncle Thomas were musicians and Gentlemen of the Royal Chapel, where musicians who played for the king were trained. When he was about nine years old, Henry became one of the Children in the Chapel Royal and was taught to sing properly by a man named Henry Cooke. Mr Cooke used to be a captain in the army and he disciplined the boys in his care and made sure that they practiced as much as they needed to and studied all the subjects that they had to learn.
    [Show full text]