PURCELL, Henry
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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. -
GCSE, AS and a Level Music Difficulty Levels Booklet
GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked. -
Henri PURCELL (1659-1695) Catalogue Des Œuvres Z.1 À 860 + Anh
Henri PURCELL (1659-1695) Catalogue des œuvres Z.1 à 860 + anh. Classement thématique alphabétique du catalogue Zimmerman (avec date de composition) Anthems (F.A./V.E. = Full/Verse anthems) Z 052, V.A., “Sing unto God” (1687) Z 001, F.A., “Awake, put on thy strength” (c. 1682-5) Z 053, V.A., “The Lord is king, be the people never so impatient” (Unknown) Z 002, F.A., “Behold, I bring you glad tidings” (1687) Z 054, V.A., “The Lord is King, the earth may be glad [thereof]” (1688) Z 003, F.A., “Behold now, praise the Lord” (c. 1680) Z 055, V.A., “The Lord is my light” (c. 1682-5) Z 004, F.A., “Be merciful unto me” (before 1683) Z 056, V.A., “The way of God is an undefiled way” (1694) Z 005, F.A., “Blessed are they that fear the Lord” (1688) Z 057, V.A., “They that go down to the sea in ships” (1685) Z 006, F.A., “Blessed be the Lord my strength” (before 1679) Z 058, V.A., “Thou know’st, Lord, the secrets of our hearts” (1687) - [There are 2 Z 007, F.A., “Blessed is he that considereth the poor” (c. 1688) arrangements of this piece, Z 058A, Z 058B, and a further Z 58C, which is a F.A.] Z 008, F.A., “Blessed is he whose unrighteousness is forgiven” (c. 1680-92) Z 059, F.A., “Thy righteousness, O God, is very high” (Unknown) Z 009, F.A., “Blessed is the man that feareth the Lord” (c. -
Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of
A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato -
Stainer & Bell
STAINER & BELL INFORMATION SHEET ASK 72 (1) PURCELL, Henry Library Volumes: Dramatic Music Part III edited by Margaret Laurie. Purcell Society Edition Volume 21. Stock No. PE21 The Fairy Queen edited Bruce Wood and Andrew Pinnock. Purcell Society Edition Volume 12. Stock No. PE12 † Sacred Music Part I: Nine Anthems with Strings edited by Margaret Laurie, Lionel Pike and Bruce Wood. Purcell Society Edition Volume 13. Stock No. PE13 § Sacred Music Part V: Continuo Anthems Part II edited by Robert Thompson. Purcell Society Edition Volume 29. Stock No. PE29 Services edited by Margaret Laurie and Bruce Wood. Purcell Society Edition Volume 23. Stock No. PE23 Symphony Songs edited Bruce Wood. Purcell Society Edition Volume 27. Stock No. PE27 # Three Occasional Odes edited Bruce Wood. Purcell Society Edition Volume 1. Stock No. PE1 † Our archive and offprint service can provide authorised photocopies of the score of individual titles in these volumes. Prices are available on application. Selected individual choral titles from Purcell Society Edition Volumes 13, 23 and 29 are also available for purchase as Adobe Acrobat PDF files through the secure Stainer & Bell online shop. Please refer to our website for full details (www.stainer.co.uk/shop/pe13, www.stainer.co.uk/shop/pe23 & www.stainer.co.uk/shop/pe29). † Performing material is available for rental. § Instrumental material is available for all items in PE13: Behold, I bring you glad tidings. Full Score and Instrumental Parts. Stock No. Y331 Behold, now praise the Lord. Full Score and Instrumental Parts. Stock No. Y332 Blessed are they that fear the Lord. -
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. -
Composer Arranged by Category Instrumentation Condition Location Note 1 the Holy City Adams, Stephen Salter, Sumner Choir SATB A
Quantity Title Composer Arranged by Category Instrumentation Condition Location Note 1 The Holy City Adams, Stephen Salter, Sumner Choir SATB and Piano (2) Good Drawers (A) 28! If I Go Not Away Adams, Thomas Choir Tenor solo, SATB and Organ (3) Satisfactory Drawers (A) 20! Miserere (Psalm LI) Allegri, Gregorio Atkins, Igor Choir SSATB (3) Satisfactory Drawers (A) 36! Blessed Be The Lord God Amner, John Greening, Anthony (ed.) Choir SATB and Organ (1) Great Drawers (A) 1 Two Christmas Carols 3rd Set: Oh, Little Children Lead Us Now & Hark! All Around The Welkin Rings Anderson, W.H. Choir SATB and Piano (2) Good Drawers (A) 22! Ave Maria ("Give Ear Unto My Prayer") Arcadelt, Jacques Choir SATB (and Organ) (2) Good Drawers (A) 14! The Gentle Silver Swan Arcadelt, Jacques Parkinson, John A. (ed.) Choir SATB (2) Good Drawers (A) 1 Pie Jesu Archer, Malcolm Choir SATB and Piano (2) Good Drawers (A) 11! Magnificat and Nunc Dimittis in A Arnold, Dr. Samuel Choir SATB and Organ (3) Satisfactory Drawers (A) 41! Magnificat and Nunc Dimittis in A Arnold, Samuel Ley, H.G. (ed.) Choir SATB (and Organ) (4) Bad Drawers (A) + a loose page 1 Salvator Mundi Ashfield, Robert Choir SATB and Organ (2) Good Drawers (A) 28! Alleluya Psallat Aston, Peter Choir SATB (3) Satisfactory Drawers (A) 1 And I Saw A New Heaven Aston, Peter Choir Soprano solo, SATB (and Organ) (1) Great Drawers (A) 39! For I Went With The Multitude Aston, Peter Choir SATB and Organ (2) Good Drawers (A) 1 Praise Ye The Lord Aston, Peter Choir SATB and Organ (2) Good Drawers (A) 1 There Was -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home . -
Princes, Power, and Politics in the Early Plays of Aphra Behn
PRINCES, POWER, AND POLITICS IN THE EARLY PLAYS OF APHRA BEHN by JESSICA KATE BENTLEY PIRIE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English Literature College of Arts and Law University of Birmingham February 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract My thesis explores Aphra Behn’s early plays and their portrayal of monarchical power within the political contexts of Charles II’s reign. The plays are studied chronologically, beginning with The Young King – which Behn claimed she wrote in c.1664 – and continuing through the first four of her works performed on the Restoration stage: The Forc’d Marriage, The Amorous Prince, The Dutch Lover, and Abdelazer. These works have been largely neglected by previous Behn studies, dismissed as experimental forerunners of her better-known works, like The Rover. By contrast, this thesis argues that these plays contain complex analogies of the political concerns and events troubling Charles II’s reign. Behn is popularly remembered as an ardent monarchist and staunch supporter of the Stuart crown. -
Versions of Blackness: Key Texts on Slavery from the Seventeenth Century Derek Hughes Frontmatter More Information
Cambridge University Press 978-0-521-86930-0 - Versions of Blackness: Key Texts on Slavery from the Seventeenth Century Derek Hughes Frontmatter More information versions of blackness Aphra Behn’s short novel Oroonoko (1688) is one of the most widely studied works of seventeenth-century literature, because of its powerful representation of slavery and complex portrayal of ways in which differing races and cultures – European, Black African, and Native American – observe and misinterpret each other. This volume presents a new edition of Oroonoko, with unprece- dentedly full and informative commentary, along with complete texts of three major British seventeenth-century works concerned with race and colonialism: Henry Neville’s The Isle of Pines (1668), Behn’s Abdelazer (1676), and Thomas Southerne’s tragedy Oroonoko (1696). It combines these with a rich anthology of European discussions of slavery, racial difference, and colonial conquest, from the mid-sixteenth century to the time of Behn’s death. Many are taken from important works that have not hitherto been easily available, and the col- lection offers an unrivaled resource for studying the culture which produced Britain’s first major fictions of slavery. Derek Hughes is a Professor of English at the University of Aberdeen, and formerly held a chair at the University of Warwick. He has published widely on Restoration literature in journals such as ELH, Essays in Criticism, and Philo- logical Quarterly, and is internationally recognized as a leading authority on Restoration Drama. His books include English Drama, 1660–1700 (1996), and The Theatre of Aphra Behn (2001). With Janet Todd, he edited the Cambridge Companion to Aphra Behn (2004). -
Rushing Into Floods
Representations & Reflections Studies in Anglophone Literatures and Cultures Volume 7 Edited by Uwe Baumann, Marion Gymnich and Barbara Schmidt-Haberkamp Gunda Windmüller Rushing Into Floods Staging the Sea in Restoration and Early Eighteenth-Century English Drama With 2 figures V&R unipress Bonn University Press Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-89971-968-0 ISBN 978-3-86234-968-5 (E-Book) Publications of Bonn University Press are published by V&R unipress GmbH. Supported by the Fazit Stiftung. Copyright2012byV&Runipress GmbH, D-37079 Goettingen All rights reserved, including those of translation into foreign languages. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, microfilm and recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover image: “The Indian Queen” (Anne Bracegirdle) by William Vincent, published by John Smith National Portrait Gallery, London Printing and binding: CPI Buch Bücher.de GmbH, Birkach Printed in Germany em Hätze – för Mariechen un Josef Contents List of Plays .................................. 1 Acknowledgments . .................. 11 List of Plays .................................. 13 1. Introduction . ............................... 15 1.1 From “sceptred isle” to “rushing forests” . ........ 15 1.2 A Nation “in an Island”: England’s Maritime Expansion . 17 1.3 Coming to Terms with the Sea: From Sea Literature to New Imperial Histories . .................. 23 1.4 The Theatre . .................. 31 1.5 Staging the Sea . -
Accademia Del Ricercare Henry Purcell (1659-1695) Abdelazer
06 giugno Settimo TO.se. - Chiesa di S. Vincenzo ore 20,30 Accademia del Ricercare Henry Purcell (1659-1695) Abdelazer Suite O la vendetta del moro Ouverture, Rondeau, Air I-II, Minuet, Air III, Jig, Hornpipe, Air IV, Suite from the F a I r y Q u e e n Prelude, Hornpipe, Air, Rondeau, Overture Act I Jig, Dance for the Followers of Night Act III Symphony while the swans come forward, Dance for the Fairies Dance for the Green Men, Dance for the Haymakersi, Hornpipe Act IV Symphony, Entry of Phoebus, Air Act V Prelude, Entry Dance, Symphony, Monkey’s Dance, Chaconne Silvia Colli, Francesco Bergamini, Yayoi Masuda Aki Takahashi, Valeria Caponnetto Elena Saccomandi, Alessandro Curtoni, viole Antonio Fantinuoli, violoncello Federico Bagnasco, violone Arianna Zambon, Manuel Staropoli, oboi Luisa Busca, flauto Enrico Negro, Simone Telandro, trombe Claudia Ferrero, organo Matteo Manzini, timpani Direttore e concertatore, Pietro Busca Note di Sala Più che per le pregevoli opere sacre che compose per la Chapel Royal, ai suoi tempi Henry Purcell era apprezzato soprattutto per la sua vasta produzione di musica per il teatro. Musica per il teatro, non opera e tanto meno melodramma: questa espressione si spiega con il fatto che Purcell non scrisse – come i suoi contemporanei italiani e francesi – drammi per musica o tragédie-lyrique, lavori dal carattere unitario strutturati in una sequenza di arie, recitativi e danze strumentali, ma più che altro musiche di scena per i drammi e le commedie che venivano messi in scena nei teatri londinesi, nelle quali rivestivano un ruolo importante ma comunque subordinato al testo recitato.