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Purcell's 'Fairy Queen' Author(S): Wm. Barclay Squire Source: the Musical Times, Vol Purcell's 'Fairy Queen' Author(s): Wm. Barclay Squire Source: The Musical Times, Vol. 61, No. 923 (Jan. 1, 1920), pp. 25-29 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908480 Accessed: 15-12-2015 18:49 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. http://www.jstor.org This content downloaded from 129.96.252.188 on Tue, 15 Dec 2015 18:49:31 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-JANUARY I 1920 25 descended from the from the jII I I. -4L-- ment, lineally Masque, latest developments of which it inherited sung u - recitative, dances, and especially the introduction of 'machines,' either representing clouds, flyingfigures, or set with mechanical i I &c., suspended by ropes, pieces VF action, generally rolling on wheels. In the Masques of the age of James I. or Charles I. such devices were elaborated to an extraordinaryextent and at an 'We have here a workwhich is a creditto native enormous cost, far beyond the means of the licensed art. doubt the musical futureof our race companies who supplied London with theatrical per- Beyond formances after the Restoration. the secret rests in the hands of of such Indeed, chiefly composers of their construction would seem to have been lost, works as We welcome Mr. sacred this. Olthurst for it is recorded that the idea of such spectacular he is as a new-comerinto a field certain to adorn. displays was derived from Paris, whence they were That " Ruth " willnot be his last workis certain,for introduced by Betterton after a visit to France in we hear that he has almost finishedan oratorioon 1683. As to the companies which occupied the the storyof Balaam. We are assured by a mutual London stage a few words are necessary, in order friendthat this marks an advance on "Ruth." The to understand the origin of the 'Fairy Queen' and In Charles II. composer'sgreat naturalgift for descriptivewriting its operatic predecessors. I66o licenses two in has full play in the passage relating to Balaam's granted to dramatic companies the Metropolis. The firstof these was the King's journey. Our friendtells us that he has rarelybeen which after in Clerkenwell and music as the aria of Company, performing so affected by any by the Gibbon's Tennis Court in Bear Yard, occupied a Prophet'sfaithful and ill-usedbeast, a setting(given, theatre of its own, on the site now covered by withsure instinct,to the tenor) of the words "Am Drury Lane Theatre. The second was the Duke's not I thineass ?"' Company, which first performed at the Cockpit, Drury Lane, then in succession at the Apothecaries' Hall and at a theatre in Portugal Row, Lincoln's Inn DR. ETHEL SMYTH Fields. In 1670 there was built for this Company a the east side AS SUFFRAGIST. theatre on of Salisbury Court, on the site of the gardens of Dorset House (burnt down in ..........-' Now that the first 1666). This theatre was designed by Wren, and it woman member of is said that the decorations were by Grinling Gibbons. It was than the Drury Lane house, Parliament has been larger ...............i.......... and had approaches both by land and water. Views elected, it is interesting of the exterior and the stage-almost the only ones of London theatres of this time-are to ... .. ... to recall the prominent we possess be found in Elkanah Settle's of Morocco,' taken Dr. Ethel 'Empress part by and show it to have been a very beautiful house. It Smyth in the 'Votes for was opened in November, 1671, by the Duke's Women' movement. Company, then managed by Lady Davenant, her son and two of the actors, This now Charles, principal photograph, Harris and Betterton. For some years the two published for the first companies remained in rivalry, but in 1682 the houses time, shows her heading audiences at both having steadily diminished, the two forces. The united com- the Musicians' section of companies joined panies opened in November, 1682, and henceforward the great Suffrage the Drury Lane house was used for plays requiring while the Dorset Gardens Theatre procession in 191I. little scenery, called the Queen's) was devoted to Photo by Sydney J. Loeb. (afterwards spectacular performances. But by 1700 the fortunes of the Queen's Theatre had declined, and early in the it was taken down. PURCELL'S ' FAIRY QUEEN' I8th century Purcell's regular connection with the stage seems BY WM. BARCLAY SQUIRE to have begun about I69o, though before that he had The performance on the stage of Purcell's 'Fairy occasionally written incidental music or songs for Queen,' which is announced to take place at plays, his first dramatic work being (according to Cambridge next February, promises to be an event Downes) the music in Nat. Lee's 'Theodosius,' pro- of unusual interest. The, difficultiesin the way of duced by the Duke's company in 168o. But with presenting to a modern audience the early attempts the amalgamation of the two companies and the at English opera make it impossible for a manager production of spectacular pieces at Dorset Gardens who has to depend on his box-office receipts to he found a much wider scope for his talent. It is venture on performances so far removed from to this that we owe 'Dioclesian' (performed in modern tastes. All the more praise is therefore 1690), 'The Tempest' (1690?), 'King Arthur' due to Cambridge for attempting a revival of a (I69I), 'The Fairy Queen' (I692), and 'The Indian Restoration opera, even shorn as the performance Queen' (I695)-all of which, with the exception of must be of the spectacular effects upon which its ' Dido and tEneas' (written for private performance), attraction originally so largely depended. This is have more claim to be regarded as operas than his other not the place to enter upon any lengthy dissertation dramatic music. Operas in the modern sense they of what an 'opera' meant at the end of the were not, for the musical portions were distinct from 17th century. It was a hybrid form of entertain- the dramatic, and their performanceentailed a double c This content downloaded from 129.96.252.188 on Tue, 15 Dec 2015 18:49:31 UTC All use subject to JSTOR Terms and Conditions 26 THE MUSICAL TIMES-JANUARY 1 1920 company, the actors being the most important,the galleries abutting on the proscenium, the second tier singers and dancers being only added (like the reaching to the top of the stage opening. Over this 'machines' and scenery) to make up the whole there was a considerable projection, occupied by hybrid spectacle. But though we may regret deeply a room lighted by windows from the sides and with that the theatrical state of the day did not allow a wide opening to the auditorium. This room is Purcell to the remarkable develop insight into what conjectured by Mr. W. J. Lawrence, a great opera should be which he showed in 'Dido and authority on the subject, to have been a survival it is to be thankful /Eneas,' something for that the of the music-room of the Elizabethan stage, and to displays at the Dorset Gardens Theatre enabled him have been generally used by *the small band of to write the beautiful music which has survived players who were sufficient for the slightly- after the merely dramatic scenes of these 'operas' orchestrated curtain- and act-tunes and overtures Vr ii i IIEo Ii~ ~ ~~ g16 ~ H '""~ ~ ' '' llrIpJ, r ow. Md AmphLt heatra flJe.erSpcrta/a laarbara j4?r: V3n coeuntvY'Zdinondper, (Irfa,. o9osittets rolinmasfas, Ietoit Amorq cum MarteVc aus Pr:eia, no.froedfJncola Quofijferunt oim7r/alamorepfieCPeatro .&edets uzna rernat1pollo ros THE DORSET GARDENS THEATRF, NORTH FRONT. Fro;m a Nlate in Elkanak Settle's ' EmPress of Morocco.' Pho!o. by Dolald M-acbet/, London. have been dead and long forgotten. Can, then, required for ordinary dramatic performances. But these works be revived? That is the question for works like the 'operas' produced at Dorset which has set Cambridge itself to solve. How Gardens it is obvious that this position of the orchestra difficulta problem it is may be gathered from a would be impossible, even if the room over the short of 'The and the description Fairy Queen' proscenium was sufficientlylarge ; and it is evident theatre where it was Of the produced. dimensions that for these productions the orchestra occupied of the Dorset Gardens Theatre we know nothing, the position it does in the present day, i.e., on the so far as can be but, judged by the plates in 'The floorof the pit. This is made clear by the directions of it must have Empress Morocco,' been rather in Shadwell's version of 'The Tempest,' performed in to lofty proportion its width, with two tiers of at Dorset Gardens in 1674, which read as follows : This content downloaded from 129.96.252.188 on Tue, 15 Dec 2015 18:49:31 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-JANUARY I 1920 27 The Frontof the Stage is open'd, and the Band of bass and violoncello.
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