Henry Purcell
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John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. -
The English Anthem Project the Past Century and a Half, St
Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists. -
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). -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
PROGRAM NOTES Henry Purcell
PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all. -
AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020
AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020 Join us for AEM ONLINE! Four online class sessions are offered using the Zoom meeting app, or your web browser. Register for any number of sessions, $25 per session. Instructors will be in touch ahead of time with music, Zoom meeting links will be sent out on Friday after registration has closed. All sessions run 90 minutes, with the first 15 minutes for introductions. If for any reason the session doesn’t work for you, we’ll refund your money. Tish Berlin will hold a Zoom tutorial on Friday, April 24, at 4:00 p.m. Eastern/1:00 p.m. Pacific time for any participants who would like help with Zoom. She will send out a meeting link Friday morning to all participants but only those who are new to Zoom or who need a refresher need to join the meeting. If you are an old hand by now you can ignore the invitation. Registration deadline for all classes is Friday by 9:00 a.m. Eastern Daylight Time. SCHEDULE (Eastern Daylight Time) Saturday, April 25, 2020 1:00 p.m. (10:00 a.m. PT) Viol Duets with Ros Morley 3:00 p.m. (12:00 p.m. PT) Introduction to Baroque Opera with Dylan Sauerwald Sunday, April 26, 2020 1:00 p.m. (10:00 a.m. PT) An English Banquet of Song with Emily Eagen 3:00 p.m. (12:00 p.m. PT) Recorder Technique with Aldo Abreu CLASSES: Viol Duets: a tasting menu with Ros Morley Saturday, April 25, 1:00 p.m. -
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. -
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. -
The Harpsichord Master of 1697
The Harpsichord Master of 1697 and its relationship to contemporary instruction & playing by Maria Boxall The earliest known attempt (in England) to transmit and help to them, Entituled, An Introduction to knowledge concerning the playing of keyboard the Skill of Musick, which doth direct them to instruments by means of the printed word was understand the Gamut, and by it the places and made exactly a century before the publication of the names of their Notes, &c. But as for the true Harpsichord Master 1. In that year (1597) there was Fingering and severall graces used in the licensed to be printed by one William Haskins 'A playing of this Instrument, it cannot be set down playne and perfect Instruction for learnynge to play in words, but is to be obtained by the help and on ye virginalles by hand or by booke both by Directions of Skilfull Teachers, and the constant notes and letters or Tabliture never heretofore sett practice of the learner, for it is the Practick part out . .'. Such a book would almost certainly have crowns the Work.' included some music. If so, the claim of the famous However a later, further expanded edition of Parthenia of 1612/13 to be 'the first musicke that ever 1678 has a different subtitle: 'New lessons and was printed for the virginalls' could not have been Instructions for the virginals or harpsychord' and in correct 2. It seems probable, however, that Haskins the preface we read: never made use of his licence, for although the 'It has ever been my opinion ,that if a man made any book would undoubtedly have been popular, and discovery, by which an Art or Science might be the playing technique it presumably described - that learnt with less expence of Time and Travel, he was of the English virginalists (as can be reconstructed obliged in common Duty to communicate the from their manuscripts) - did not become seriously knowledge thereof to others ...' 'Many of those who outmoded during the following century, no copies bought the former impression of Musicks Hand- survive. -
PURCELL CHACONNE DIOCLESIAN Complete Masque from Timon of Athens
dio single booklet.qxd 19/3/08 10:52 am Page 1 Chan 0569/70 PURCELL CHACONNE DIOCLESIAN complete Masque from Timon of Athens Catherine Pierard James Bowman John Mark Ainsley Michael George Collegium Musicum 90 Richard Hickox CHAN 0569 - BOOK.qxd 19/3/08 10:43 am Page 2 Henry Purcell (1659–1695) Dioclesian Catherine Pierard soprano James Bowman alto Mark Padmore tenor* John Mark Ainsley tenor Michael George bass COMPACT DISC ONE 1 First Musick 2:12 2 Second Musick 1:25 3 Overture 3:45 ACT I 4 First Act Tune (Hornpipe) 0:43 ACT II 20:15 5 Song (Bass) ‘Great Diocles the Boar has kill’d’ – 2:20 Chorus ‘Sing Iô’s!’ 6 Song (Soprano) ‘Charon the peaceful Shade invites’ 1:29 Henry Purcell 7 Symphony for Trumpets and Violins 1:27 Mary Evans Picture Library 8 Duet (Soprano, Bass), Chorus ‘Let all mankind the 1:17 pleasure share’ 9 Martial Song (Tenor) ‘Let the soldiers rejoice’ 4:35 Trio (TT*B) ‘Rejoice with a general voice’ Retornello (for trumpets and hautboys) Trio (TT*B) ‘To Mars let ’em raise – Rejoice with a general voice’ Retornello (for trumpets and hautboys) 3 CHAN 0569 - BOOK.qxd 19/3/08 10:43 am Page 4 10 A Symphony of Flutes – Michael George a Bacchanalian, shepherd Nathan Berg a Silvan, a Bacchanalian Song (Alto) ‘Since the toils and the hazards’ Quartet (SATB) ‘Let the priests…’ – Chorus ‘All sing…’ 5:16 2 Cupid, Chorus ‘Call the nymphs’ 2:30 11 Dance of Furies 3:01 3 Duet (a Bacchanalian & a Silvan) ‘Come, come away’ 1:07 12 Second Act Tune 0:49 4 Chorus ‘Behold, O mighty’st of Gods’ 3:13 ACT III 9:41 5 Paspe (The first entry of heroes on the stage) 0:44 13 Two in one upon a Ground. -
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.