DOCSLIB.ORG

Musical Times Publications Ltd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Musical Times Publications Ltd. Review Source: The Musical Times and Singing Class Circular, Vol. 31, No. 574 (Dec. 1, 1890), p. 744 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3362064 Accessed: 23-10-2015 02:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 130.113.111.210 on Fri, 23 Oct 2015 02:13:29 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TI1MES.-DECEMBER I, I890. 744 well as those writtenfor Garrick'srevival of Shakespeare'sand some are of extremebeauty. The quaint phrasesof plays, prove how sympatheticallyhe could think in the the Carolsfrom foreign sources recall the melodicpassages spirit of the poet. The music for Milton's Masque of of such of the songs of the Troubadoursas havebeen trans- " Comus,"his opera of "Artaxerxes,"two oratorios,and mittedto us. innumerabledetached songs attest his powers of writing The svordsare as noteworthyas the music. In one of the music in all styles; and, althoughseveral of his important Carolsfrom Bas Quercy,the soundsof thevoices of thebirds works have not survived,many of the gems containedin are imitatedin syllables:thus the cockchants coquctico, the them are still often sung. VolumeI in the collectionnow goldfinchchirps tir-li-chiu-chiu, and amongthe otherbirds beforeus, besidessome of his best settingsof Shakespeare'sthe larkssing withjoy ti-ro-li-rou,which is almostidentical words,includes several of the universallyfavourite songs to with the onomatopoeicexpression given by Shakespeareto the verses of other poets, such as " In infancy," "Thou the same bird, "The merry lark that tirra-lirrachants." soft flowing Avon," "The soldier tired"-once the test- The philologicalsuggestion or connectionof the words is piece of aspiringvocalists " When forcedfrom dear Hebe quite as interestingas the musical associations,and these to go," &c. will command a welcome as beautifuladditions to the The list of compositionsby Sir Henry RowleyBishop, in storeof Carolsavailable for the season of peace and good- orolume, formsan interestingrecord of workssvritten at a will. time when Englishmusical composition required the advent of such a genius to encouragebright hope in the future. Thc AIcthodistSundfly School Hymtl and Tuole Book. Not only the melodiouscharacter of the works,but the New Edition. science displayed,rendered them equally attractiveto the LWesleyanMethodist Sunday School Union.] musician and the generalpublic, and sve still linger over ONa formeroccasion we had the pleasureof directingthe many of theirbeauties with unalloyedpleasure. Amongst attentionof readersinterested in Hymnologyto thisexcellent the pieces containedin this volume, " Bid me discourse," andcosmopolitan collection of hymnsand tunes, compiled by " Home, ssveethome," "The Pilgrimof Love," 4; Tell me, the WesleyanMethodist Conference, and designedfor use my heart," "The bloom is on the rye," " My heart and in schools and families. The many bright and lively lute," " 'Tis when to sleep,"&c., will be warmlywelcomed melodiesof the patternknown as Americanwill be hailed as old friends;but thereare manyothers that are certainto with delightby school childrenand welcomedby teachers, be hailed as newly discoveredtreasures, and we envy those inasmuch as the sequences of their melodies are easily who light uponthem for the first time. impressedupon the mind,and the principlesintended to be Volume3 is devotedto the songs of CharlesDibdin, and inculcatedin the verses are thereforethe more likely to this, in additionto being editedby Wm. Alex. Barrett- as obtain the eSect desired. For the purposes of public are volumes I and 2-is also enriched by his carefully worshipthere is an amplesupply of those beautifulhymns written accompaniments,the composer having but little which have become inseparablyinterwoven into the life of scientific musical knowledge. No eulogy of the wordsor the people, whatevermay be the tenets of their religious music of these compositions-especiallyof the sea songs profession. The bookis enrichedwith a valuableseries of is here necessary,for most of themare not only well known indicesto the contents. There is an index to the hymns but constantlysung. Ie is said that Dibdinwrote the words pointingout the nature of the verses and their fitness for and composedthe music for more than a thousandsongs certainuses, such as for infants,or for teachers'meetings; supplyingalso wordsfor other composers. In this orolume;the texts prefixedto the hymns are also tabulated; the we find ' Tom Bowling," "Then farewell,my trim built subjectsof the hymns are also set forthin a mannerwhich wherry,"" While the lads of the village," " Poor Jack," forms one of the most valuableparts of the book- an $' Tom Tough," ;' The jolly young waterman,"and many alphabeticallist of the tunes and of the several metres othersequally well known, with a few not so familiar,but employed,shows how carefuihas been the design upon thoroughlyrepresentative of the characteristicsof the com- poser. The book is indeeda worthy memorialof a man which the compilationhas been based,and the book itself who has trulyand legitimatelywon the lastingsympathy of shows how successfullyit has been carried out. There is the Englishpeople. no doubtbut that this new and exceedinglyhandy edition The volume containingtwelve songs by Henry Purcell wilImeet with a heartyreception wherever it is known. has been most appropriatelyentrusted to the editorshipof William H. Cummings,to whose indefatigableexertions in Aphorisms on fhe AYt ofSong Accompaniment. By Carl promotinga knowledge of the works of this composer Reinecke. Translated from the German by Theodore musiciansare so largely indebted. A brief selection from Baker. LLeipzig:Gebruder Reinecke.] Purcell's songs can of coursegive but a faint idea of his THE authorof this admirablelittle tract, in setting forth genius, but the editor has wisely included such speci- his experienceas an accompanistfor the guidanceof others, mens as " The knottingsong, " " Nymphsand shepherds," insists upon earnestness as a necessary qualificationfor " I attempt from Love's sicliness to fly," " Full fathom success. He assumesa certainamount of musicaltraining five," " Come unto these yellow sands," " From rosy in the technicalities of the art, but in giving rules for bow'rs," &c., and we sincerelyhope that an acquaintancetransposition he includesa knowledgeof the C clef for alto with these will lead many to becomefamiliar with the more and tenorvoices, a matterwhich in the presentday is too importantcompositions which, although they haveshed such often neglected. His aphorismsare pearls of price which lustre upon his name, are too little known,even by intelli- may be studied with advantageby those who desire to gent amateursand earneststudents. We need scarcelysay become classed among the ranks of good accompanists. that the admirablepianoforte accompaniments of the editor Well studiedand taken to heart,the young player will acquire materiallyadd to the value of this interestingvolume. fromthem much that is valuable. Althoughgood accom- panists are born, not made,it is quite possiblethrough the Tzuelve 01d Carols, English v1ld Forvign. Adaptedand mediumof the counselhere given to increasethe numberof arrangedby Sir John Stainer. those who may be creditedwith intelligencein the matter. [Novello, Ewer and Co.] THIScollection of Carolsforms a most interestingsupple- The StscndardOtcrcr Glass. Containingthe detailed ment to the splendidtriple series of ChristmasCarols made plots of ninety-fivecelebrated operas, with criticalremarks, by the same hand in conJunctionwith the Rev. H. R dates,&c. By CharlesAnnesley. [Sampson,Low andCo.] Bramley,which formthe acceptedtext-book on the subject THISwould be one of the most useful booksof its kind In extendinginquiries into hitherto unexploredregions, a but for one or two small drawbacks. In the firstplace, it new pleasureis affordedto thosewho haveturned attention contains too much; in the second place, it contains too to the history and prevalence of Carol-singingamong little; and,in the thirdplace, it is contradictoryin character. Christianpeople. To furnishthe twelveexamples in the book It contains too much for English readers, for it gives much researchhas been expendedwith the happiestresult. accounts of operas that are never performed in this There are Carolsof Besancjon,the Tyrol, Poitou (by Lucas country; and, on the other hand, it contains too little be- le Moigne, I520), Arpaaon, Bas Quercy (Carols of the cause many of the operas most frequentlyrepresented are Birds and of the Flosvers), Gascony,Basse Normandie, not named. Thereis not a singleEnglish opera mentioned, Flanders,and England. All the melodies are attractive, and the names of Balfe, Wallace, Barnett, Mackenzie, This content downloaded from 130.113.111.210 on Fri, 23 Oct 2015 02:13:29 UTC All use subject to JSTOR Terms and Conditions.
Recommended publications
  • Handel's Oratorios and the Culture of Sentiment By

    Handel's Oratorios and the Culture of Sentiment By

    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
  • New Musical Magazine M1.H24m

    New Musical Magazine M1.H24m

    http://oac.cdlib.org/findaid/ark:/13030/c82z18ss No online items Finding aid to the New Musical Magazine M1.H24m Finding aid prepared by Katherine Monroe William Andrews Clark Memorial Library 2520 Cimarron Street Los Angeles, CA, 90018 (323) 731-8529 [email protected] 2014 Finding aid to the New Musical M1.H24m 1 Magazine M1.H24m Title: New Musical Magazine Identifier/Call Number: M1.H24m Contributing Institution: William Andrews Clark Memorial Library Language of Material: English Physical Description: 1.0 Linear feet5 volumes Date: 1783-1786 Scope and Contents This finding aid describes the contents of the music periodical The New Musical Magazine from 1783 to 1786. Bound Volume 1, Arne, Thomas Augustine (1710-1778). Comus; a Masque. As it is performed at the item 1 Theatres Royal in Drury Lane and Covent Garden. Composed by Dr. Arne, for the Voice, Harpsichord, and Violin. London: Printed for Harrison & Co., No. 18, Paternoster Row, [1785] Note 18 pages. Reference Number: BUCEM 1:43 Subjects and Indexing Terms harpsichord violin voice Bound Volume 1, Handel, George Frideric (1685-1759). The Messiah; an Oratorio. Composed by Mr. item 2-6 Handel, For the Voice, Harpsichord, and Violin; with the Choruses in Score. London: Printed for Harrison & Co., No. 18, Paternoster Row, [1785] Note 89 pages. Reference Numbers: BUCEM 1:436; Smith, page 122, #15. Subjects and Indexing Terms harpsichord violin voice Bound Volume 1, Boyce, William (1711-1779). The Chaplet, a Musical Entertainment, As it is performed at item 7 the Theatres Royal in Drury Lane and Covent Garden. Composed by Dr.
  • Development of English Song Within the Musical Establishment

    Development of English Song Within the Musical Establishment

    VM~> DEVELOPMENT OF ENGLISH SONG WITHIN THE MUSICAL ESTABLISHMENT OF VAUXHALL GARDENS, 1745-1784 by AUDREY LEONARD BORSCHEL A.B., California State University, Los Angeles, 1966 M.A., California State University, Los Angeles, 1968 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 1985 © Audrey Leonard Borschel, 1985 In presenting this thesis 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. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6 (3/81) ABSTRACT This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the develop• ment and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society.
  • GARRICKS JUBILEE.Pdf

    GARRICKS JUBILEE.Pdf

    fr na A comprehensive — and occasionally hilarious—study of the three-day fes­ tival staged by David Garrick, the brilliant actor and manager of the Drury Lane Theatre in London, at Stratford-upon-Avon, in September, 1769. This was the first Shakespeare fes­ tival to engage national interest, and although its critics vilified it as a fiasco and a monumental example of bad taste, its defenders thought it a glorious occasion. James Boswell, a member of the latter group, de­ scribed it as being ((not a piece of farce . , but an elegant and truly classical celebration of the memory of Shakespeare." Reproduced on the stage in vary­ ing moods of glorification and satire, the Jubilee ultimately became en­ tangled in the very threads of Eng­ lish life. The combination of Garrick and Stratford produced a catalyst (Continued on back flap) Garrick's Jubilee Garrick's Jubilee By Martha Winburn England Ohio State University Press Copyright © 1964 by the Ohio State University Press All Rights Reserved Library of Congress Catalogue Card Number: 64-17109 Chapters II and V and portions of Chapters I and III are reprinted from the author's Garrick and Stratford, © 1962, 1964 by The New York Public Library. They are used here by permission of the publisher. A portion of Chapter VI first appeared in Bulletin of the New York Public Library, LXIII, No. 3 (March, 1959) ; and a portion of Chapter VIll in Shakespeare Survey, No. 9 (1956). They are reprinted here by permission of the publishers. To Harry Levin Preface THE LIBRARIES of Harvard University, Yale University, and Queens College, the Folger Shakespeare Library, the New York Public Library, and the archives of the Shakespeare Birthplace Trust have made my work possible.
  • Graduate Recital

    Graduate Recital

    Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1973 Graduate Recital Earl Lynn Starks Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Starks, Earl Lynn, "Graduate Recital" (1973). All Graduate Plan B and other Reports. 713. https://digitalcommons.usu.edu/gradreports/713 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRADUATE RECITAL By Earl Lynn Starks Report of a recital perfo~med in partial fulfillment of the requirements for the degree of MASTER OF MUSIC UTAH STATE UNIVERSITY Lo~~tan, Utsh 1973 iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1968-69 Graduate Recital EARL LYNN STARXS, BARITONE Jay Mauchley, Piano I Hark, How All Thinqs in One Sound Rejoice Purcell Blow, Blow, Thou Winter Wind •.• Arne II Die Forelle • • • Schubert (The Trout) Litanie • Schubert Ganymed • Schubert Abschied Schubert (Departure) III Deh vieni alla fineatra • • • Mozart (0 Come to the Window) Finch ' han dal vino • • • • .Mozart (While there is Wine) Urna Fatale • • • • • • • • Verdi (Destiny's Secret) (La Forza del De•tino) Recitative and Aria I N T E R M I S S I 0 N iv IV Chants Populaires Hebraiques. Milhaud (Popular Hebrew Chants) Le Chant du Veilleur (Song of the Watchman) Chant Hassidique (Hassidique Chant) M.andoline • • . • . • • • • • . • • • • • • . • Debussy v Silent Noon .
  • Arne: Artaxerxes

    Arne: Artaxerxes

    ARNE: ARTAXERXES THE MOZARTISTS IAN PAGE 9017_CO_Artex_BOOKLET_COVER_SECTION_FINAL.indd 1 21/12/2020 17:55 Performing edition by Ian Page Recorded at Air Studios, London, UK from 18 to 21 November 2009 and 2 April 2010 Produced and engineered by Philip Hobbs Post-production by Julia Thomas, Finesplice, UK Design by Toucari Live and Debbie Coates Cover image: Wall Carving, Persepolis, Iran © Alamy Photography by Stephen Page, www.fatkoala.biz Orchestra playing on period instruments at A = 430 Hz This recording followed a production of Artaxerxes at the Royal Opera House, Covent Garden in 2009, directed by Martin Duncan and designed by Johan Engels. It was originally released in 2010 on Linn Records. www.signumrecords.com Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact We are extremely grateful to George & Efthalia Koukis and Sherman Lam for making this release possible. Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. Special thanks also to: Alamy, Big Yellow Self Storage, Kate Bingham & Jesse Norman, Anne Bulford OBE & All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted David Smith, Philip Carne MBE & Christine Carne, Michael & Jill Carpenter, David Challen CBE & Elizabeth in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior Challen,
  • Musicteachers.Co.Uk History Resources an Overview of Dramatic

    Musicteachers.Co.Uk History Resources an Overview of Dramatic

    MusicTeachers.co.uk History Resources An overview of Dramatic Music in England, 1710-1759 Before his arrival in England in 1710, Handel encountered considerable success with Agrippina in Venice (1709-10). At the Queen’s Theatre, Aaron Hill, a dramatist and poet, quickly conceived a plot for Handel, employing Giacomo Rossi as his librettist. The plot was based on Tasso’s Gerusalemme Liberata, Handel completing the libretto within two weeks. The plot of Rinaldo was taken from earlier works, but despite this, Rinaldo is regarded as a fine opera – Handel obviously ensured its impressive nature in both content and performance (February 1711), which, as in Purcell’s time, was lavishly staged. Staging included mountains, waterfalls and even a flock of sparrows and chaffinches. The orchestra was more varied and colourful than those to which London audiences were used, employing four trumpets, three recorders for birds and a star cast that included the castrato, Nicolini. Handel directed from the harpsichord, the opera running for fifteen nights to full houses. Future revisions were performed in subsequent seasons. Although Rinaldo received a good reaction, Addison, perhaps angry at the manner in which his Rosamond was received, wrote letters of complaint to The Spectator. Rinaldo followed the conventions of opera seria, devised on the formal structure of Italian models. These disposed the dramatic and emotional pattern of the characters precisely through intricate plots and lavish theatricality. Narrative was carried forward through recitatives and plots were complex enough to allow a variety of contrasts in arias to be presented. Arias were divided amongst the singers in the following manner: 1.
  • Genres of Theatrical Overtures by Thomas Augustine Arne

    Genres of Theatrical Overtures by Thomas Augustine Arne

    Genres of theatrical overtures by Thomas Augustine Arne 7 ‌­volumes containing madrigals in Italian style, songs The creative work of other musicians is repre- for consort, anthems and fancies for consort of viols. sented by secular music and church compositions Among those who served as court musicians or are represented by service and/or 2–3 anthems: musicians in rich families there is a group of com- John Wilbye, John Cooper, Benjamin Cosyn, Rob- posers and performers (virginalists, lutenists, per- ert Johnson, George Kirbye, Thomas Lupo, Fran- formers playing the viol) who created a rather big cis Pilkington, Giles Tomkins, Thomas Warwick. amount of anthems as well as a lot of images mainly Also including Richard Nicholson, who was a mu- of secular instrumental music: Orlando Gibbons sic teacher in Oxford University and an author of (for about 40 anthems), Martin Peerson (more than only two anthems. 20 anthems), Thomas Ford (19 anthems). Having This panorama shows an inseparable connec- left 35 anthems Thomas Weelkes contributed the tion of socio-political, geographic and official fac- secular vocal sphere with four books of madrigals tors with a relatively high degree of activity in cre- containing together for about 100 ‌­samples. ation of anthems. References: 1. Wilson-Dickson, E. The Story of Christian music/trans. from English. L. B. Levin, V. N. Genk. SPb.: Mirt, – 2001. 2. Crowest F. J. Phases of musical England. London: The English publishing company, – 1881. 3. David C. Price. Patrons and musicians of the English Renaissance. Cambridge: Cambridge university press, – 1981. 4. Oxford Dictionary of National Biography.
  • Carolyn Sampson - Soprano Mark Padmore - Tenor

    Carolyn Sampson - Soprano Mark Padmore - Tenor

    HANDEL & MILTON 15th of October 2020 - St Giles Cripplegate Carolyn Sampson - Soprano Mark Padmore - Tenor Harry Bicket - Artistic Director WELCOME PROGRAMME From St. Giles Cripplegate Not far from Handel’s statue in the Handel The English Concert Fore St Ave, Barbican, Concerto Grosso op 6 no 5 Vauxhall Pleasure Gardens was a statue Harry Bicket London EC2Y 8DA of the seventeenth-century English poet Artistic Director / John Milton. Though he died in 1674, St Giles’ Cripplegate is one of the few Selection from Samson Harpsichord remaining medieval churches in the Milton’s legacy extended well into the Total Eclipse City of London and, after surviving eighteenth century. Handel seems to Carolyn Sampson devastating bombing during the Why does the God of Israel Sleep Blitz, it sits at the heart of the modern have first become captivated by Milton’s Soprano Barbican development. It is thought To fleeting pleasures make your court that there has been a church on this poetry following an evening in November Mark Padmore spot for one thousand years. We know Traitor to love 1739 spent with Lord Shaftesbury, when Tenor nothing about the early Saxon church, Thus when the sun which was probably a little chantry or the host’s brother-in-law read aloud chapel made of wattle and daub. In the entirety of John Milton’s epic tragic 1090, a Norman church stood on this site, built by Alfune, Bishop of London, drama Samson Agonistes. Thomas Arne who afterwards assisted Rahere, the founder of nearby St Bartholomew’s, in 3 Dances from the Masque of Comus building the neighbouring church of St The interest this experience sparked Bartholomew the Great.
  • Viewing My Work After It Had Already Been Initiated, and for This I Am Grateful

    Viewing My Work After It Had Already Been Initiated, and for This I Am Grateful

    INFORMATION TO USERS This manuscript has been reproduced frommicrofilm the master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, whue others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North ZeebRoad. Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 THE RISE AND DECLINE OF THE FAIRY APOTHEOSIS IN RENAISSANCE LITERATURE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Eva Puin, B.A., M.A.
  • Rewritten to Aftertimes: Adaptations of John

    Rewritten to Aftertimes: Adaptations of John

    REWRITTEN TO AFTERTIMES: ADAPTATIONS OF JOHN MILTON’S POETRY, 1674-1767 By JOHN LUKE RODRIGUE Bachelor of Arts in English Nicholls State University Thibodaux, Louisiana 2004 Master of Arts in English Pittsburg State University Pittsburg, Kansas 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May 2013 REWRITTEN TO AFTERTIMES: ADAPTATIONS OF JOHN MILTON’S POETRY, 1674-1767 Dissertation Approved: Dr. Edward Jones Dr. Jeffrey Walker Dr. Andrew Wadoski Dr. David D’Andrea ii Name: JOHN LUKE RODRIGUE Date of Degree: MAY 2013 Title of Study: REWRITTEN TO AFTERTIMES: ADAPTATIONS OF JOHN MILTON’S POETRY, 1674-1767 Major Field: ENGLISH Abstract: Post-Romantic Milton criticism often sees a dichotomy in the poet’s thought. On the one hand, he is considered a champion of modern values, such as the freedom of worship and the freedom of speech, and a strong proponent of open-mindedness and restless intellectual inquiry. On the other, his religious-moral system is often considered brutally restrictive in its emphasis upon human sinfulness and depravity and for its insistence on self-control and obedience to God as the pathway to salvation. Little attention, however, has been paid to how the eighteenth century contributed to this dichotomy, and, in particular, how musical adaptations of the eighteenth century acted as “staged criticism” that regularly highlighted the paradox in Milton’s thought that one must be constrained in order to be free. In the century, five adaptations of Milton’s poetry appeared on the British stage: Comus, L’Allegro ed Il Penseroso, Samson, Paradise Lost: An Oratorio, and Lycidas.
  • Linn Records CKD 358 Label of the Year

    Linn Records CKD 358 Label of the Year

    Linn Records CKD 358 Label of the Year “Linn is the very model of a modern record company, ensuring that the highest standards are maintained from the studio right through the company’s very impressive digital store.” JAMES JOLLY, EDITOR IN CHIEF, GRAMOPHONE Discover the world of Linn Records Download at www.linnrecords.com Now you can explore Linn music on-line with even greater ease by using our innovative download facility. Linn albums and tracks are available to download at studio master and CD quality – the quality you desire to achieve the best possible sound. MP3 downloads are also available. linnrecords.com is a multi-format music delivery system that delivers music on vinyl, CD and download. Register online today at www.linnrecords.com to keep up to date about our latest releases and to find out more about our artists. LINN, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e: [email protected] THOMAS ARNE 1710–1778 DISC ONE Act One 1. Overture (Poco più che andante – Larghetto – Gavotta) .................... 5.13 2. Recitative: Still silence reigns around ..................................................... 0.29 3. No.1, Duettino: Fair Aurora, prithee stay ............................................... 2.17 New performing edition with recitatives 4. Recitative: Alas, thou know’st that for my love to thee ..................... 1.13 5. No.2, Air: Adieu, thou lovely youth .......................................................... 3.22 Artaxerxesby Ian Page and finale by Duncan Druce 6. Recitative: O cruel parting! How can I survive? ................................... 0.57 7. No.3, Air: Amid a thousand racking woes .............................................