University of Massachusetts Amherst ScholarWorks@UMass Amherst Music & Dance Department Faculty Publication Music & Dance Series 2005 John Travers: 18 Canzonets for Two and Three Voices (1746) Emanuel Rubin University of Massachusetts - Amherst Follow this and additional works at: https://scholarworks.umass.edu/music_faculty_pubs Part of the Music Commons Recommended Citation Rubin, Emanuel, "John Travers: 18 Canzonets for Two and Three Voices (1746)" (2005). Music & Dance Department Faculty Publication Series. 3. Retrieved from https://scholarworks.umass.edu/music_faculty_pubs/3 This Article is brought to you for free and open access by the Music & Dance at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Music & Dance Department Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact
[email protected]. John Travers’ Canzonets and their Georgian Context Emanuel Rubin, University of Massachusetts As the Baroque drew to a close, England’s native composers, outmaneuvered by foreigners who dominated the opera and concert stage, found a voice of their own by tapping into the rich tradition of Elizabethan and Restoration part song. John Travers’ delightful collection of canzonets for two and three voices with continuo is typical of this neglected body of music, and it should disabuse musicians once and for all of the canard that there was “no English music after Purcell.” At the historical moment when abstract instrumental music was taking continental Europe by storm, the English, with their long-standing admiration of poetry and song, devoted their energy to cultivation of cleverly wrought part songs for highly skilled amateur singers. In that “Silver Age” of British poetry, lyrics by Addison, Chatterton, Johnson, MacPherson, Pope, Prior, Ramsay, Shenstone, and Smollett were lovingly set as witty canzonets, sentimental glees, and rowdy catches in a flowering of vocal ensemble compositions unmatched anywhere else.