DOCSLIB.ORG

John Gay's Dramatic Works,, Formula for Arranging the Songs: Introductions and Codas Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Gay's Dramatic Works,, Formula for Arranging the Songs: Introductions and Codas Vol The Music of JohnGay's The Beggar'sOpera E,ditedand Arrangedfrom Eighteenth-Century Sources by JERE,MYBARLO\T MusicDepartment OXFORD UNIVERSITYPRE,SS Oxford and New York To Martin Best ()xford Llttir.'arsit1,Press, \X/alt<tn Strcat, Oxford ()X2 (tDP, b,nglartd ()xford Uttiucrsity,I'rcss,200 MLtdisonAt,cnuc, Ncrt,York, Ny 10()/6, IJSA ()rfrtrd is tt Irtda nttrk rtf ()xlbrd Llnit'crsit)' prcss @ ()xiord Unit'crsi4,Prcss 1990 1.\lJN0- t9-.i.i6.i06 2 Pcrntissiotrto pcrfornt 7fii511tork or dny pLtrt oi it drdnrtttit'tlly, or tba completc u'rtrk itr conccrt f<trm, trtust lta oltttrinctl in rtdurtrtccirom tbc puhlishcrs (rtr tbcir dgcnts tbrottl) u,bo util! Lluote tcrnts on apltlic,ttiorr.Pcrmissit,tr t() pL'rl()nu L'xL'L't'ptsirt concart fitrm ntust bc o[ilainctl irom tbc l'crfornring Right Socicty,29l.l3 llcrncrs Strcct, London WIP 1AA, or front thc Sociatlt'sreprcsentLrtiL,as tor parfrtrnttrrtccs otrtsidc tbc Unitcd Kingdottt. Stdge,rtdio, tclcuisiou, rrtotir;n lticture, t,idco, perforning, Lrnd,tll otbcr rigbts subsisting in this umrk arc strictly rcsarued. lxlo 1t,trtof tbis publictttiott ntay ltc reprotluced, st<trcdirr tr rctricual systent,or trttnsntittctl, in Llny fornt rtr l\',rtty' ntctuts,clcctronic, ntcc'brtttit-tl,photocopyirtg, rat'ording, or otberu'ise,tt,itbortt the prior ltcrntission oi thc publishcrs. A ptpcrbttck edition is dlso trtuilablc, cortttriuingi con(lense(luersiort of thc prcf'LtccLmd cditrtriol mcthod ltrouidcd bcra. All perfornting rrttttaritrl,including librctti, is ,tudiltblc for birc f'r<nn tbc ltultlishcr's hirc librury. CONTE,NTS Preface V Abbreviati<insand SelectedBibliography vii The Evidenceof the Sources ix EditorialMethod xii Dramatis Pers<lnae I ') Ouverture in Score The S<rngsin The Beggar's ()1tera: Act I, Airs I - 18 13 Act II, Airs 19-40 36 Act III, Airs 41-69 67 Sources 101 Commentary r02 Notes on the Origins of the Songsand Their Titles 108 PREFACE This edition recreatesthe way in which the music of John Television/RM Arts co-production of The Beggar's OperA."' Gay's The Beggar's Operd was arranged during the half The orchestraplayed on baroque instruments and Pepusch's century or so following its first performance rn 1,728.Gay basseswere used in most of the songs,along with the simple used existirtg tunes for his songs in the opera, and in the introductions and codas just mentioned. But it was considered original production thesesongs were given accompaniments that unison violins and continuo in every song would sound by the composerJohannChristoph Pepusch(b. 1,567, Berlin; too bare, so second violins and violas provided harmonic d.1.752, London, where he had settled by 1.70a).No full filling much of the time, while orchestral colour was varied scoresurvives, so a reconstruction has to be basedmainly on with the use of other instruments. The result demonstrated the evidenceof three sources.The most important of these that Pepusch's basseswere effective, and also showed that is the third edition (1.729) of the opera, which includes the difference in texture between the songs with just unison the music of the songs, with Pepusch's bassesand fully violins and continuo accompaniment and those with four- scored overture. But the edition presents the songs in an part scoring was not always significant, becausethe light incompleteform, printing them without instrumental intro- tone quality of the baroque strings caused the non-contra- ductions and codas, ind with scarcely any indications of puntal inner parts to disappear into the background. scoring (seep. 66). An appropriate method of completing The need,then, becameapparent for a generallyavailable the arrangementscan be found in two manuscripts of music edition of the music f.rom The Beggar's ()pera based on for other ballad operas, one a score for The Deuil to Pay 18th-century practice.The simple methods of this arrange- (Royal College of Music MS 2232) and the other a set of ment have the advantage, just as they did in the 18th orchestral parts for Damon and Pbillida, The Deuil to Pay, century, of being adaptableto bands of widely differing size, andThe Lottery (British Library MS RM.21.c.43-5). Both constitution, and ability. The following score can be used sourcesprobably date from the 1740s, but are otherwise for rehearsing,conducting, and as the basisof a harpsichord unconnected. They appear to have been used in actual continuo realization. Orchestral parts are available on hire; performances and have in common an almost invariable so too is the text, taken from John Gay's Dramatic Works,, formula for arranging the songs: introductions and codas Vol. II, edited by John Fuller, Oxford, 1983. Fuller's Intro- simply copy the opening and closing bars of each song and duction in Vol. I contains much information on the conception scoring is for unison violins and continuo throughout. In- and original production of The Beggar's Opera, and places dications that these were standard procedures in The Beggar's the work in the context of Gay's dramatic output as a whole. Opera too come from other early editions of the work and The librarians and staff of the following libraries have from comments at the time and later on performances. been most helpful in providing me with relevant material for In the late 1,8thcentury, when such arrangements began this edition: the British Library, the Vaughan \Tilliams to sound old-fashioned, the tradition arose of re-arranging Memorial Library, Cecil Sharp House, the Royal College of and re-harmonizing the songs to suit the tastesof successive Music Library, the Royal Academy of Music Library, the generations. It could be said, in fact, that this process really University of Nottingham Library, the University of Sheffield beganwith the first production; even then, the tunes selected Library, and the Library of Trinity College, Cambridge. I by Gay had to be arranged and given new basses by would like to thank lan Caddy, David Johnson, and Iain Pepusch. In the previous OUP edition of The Beggar's Mackintosh for help over various points. Finally, I must Opera,1,954, the editor and arranger E. J. Dent wrote that expressmy gratitude to John Eliot Gardiner, who asked me 'any attempt to reproduce the original harmony and in- to arrange the music for the television production mentioned strumentation of 1,728would have been both impracticable above; that arrangement was the starting point for this and ineffective'. Today, taste has changed, and with so edition, and provided concrete evidence that the L8th-century much interest in historical performing practices, it seems methods actually work. natural to try out the original methods. *' Directed by Jonathan Miller, with the English Birroque Soloistsdirected by I first had the opportunity to do this in 1983, for the BBC John Eliot Girrdiner. ABBRE,VIATIONSAND SELECTEDBIBLIOGRAPHY Comprehensive bibliographies can be found in Gagey, Day and Murrie Cyrus L. Day and EleanoreB. Murrie, Handley-Taylor, Lewis, and Schultz,although the publication EnglishSong-Books, 1551-1702: A tsibliograpbywith a dates of these works should be noted. Throughout the First-Linelndex of Songs,1,940. edition, London is the place of publication unlessotherwise Dearing John Gay, Poetry and Prose, ed. Vinton A. stated. Dearing,with the assistanceof CharlesE. Beckwith,2 vols.,Oxford, 1974. BL The British Library. Dent The Beggar'sOpera, ed. and arr. Edward J. Dent, BL parts A set of manuscript orchestral parts for three Oxford, 1,954(music only; vocalscore). ballad operas, Damon and I'}hillida, The Deuil to I'ay, and Fiske,Englisb TheatreMusic in the Eighteenth The Lottery,, preceded by parts f<>rThe Musick in Macbetb, Fiske Roger 1,973;second edition, 7986.The most The Coronation Anthem in Henry 8tb, and Theodosius Century,Oxford, usedin preparingthis edition. (British Library, Royal Music Library, RM.21.c.43-5). importantsecondary source great informationon theperformance All the works in this manuscript have one part each for It containsa dealof The Beggar's and other balladoperas through- violin L, violin 2, and basso. In addition there is a viola of Opera part and a tympano part inTbeodosius, and a vocal score/ out the 1Sthcentury. continuo part on two staves for the ballad operas. The Fuller Jobn Gay,Dramatic'Works, ed. John Fuller, 2 vols., parts, probably dating from the 1740s, are in the same Oxford, 1,983(without music).Fuller's lntroduction hand throughout; the copyistsigns himself E. R. Simpson. includesmuch information on the conceptionof The Beggar'sOpera, and placesthe work in the contextof BO The tseggar's (see Opera Sources,p. 101). Gay'sdramatic output as a whole.He alsogives a list of 'The Bronson Bertrand H. Bronson, Beggar's Opera', in 20th-centurypublished musical arrangements (Il, 374). Studiesin the Comic,University of California Publications Gagey Edmond M. Gagey, Ballad Opera, New York, in English, VIII, 2, Berkeley and Los Angeles, 794'1,1,97 - 1937;reissued New York and London, 1968. 23 1. Reprinted rn Restoration Drama: Modern b,ssaysirr Goberman A facsimileof thethird edition<>f The Beggar's Criticism, ed. Loftis, New York, 1966, 298-327. John Opera,with commentariesby Louis Kronenbergerand Calmus Zwei ()pern-tsurleskcnaus der Rokokozeit ITete- Max Gobermanon the literaryand musicalbackground, mdque and The tseggar's Operal, ed. Georgy Calmus, Larchmont,New York, 1,961,.Goberman's commentary Berlin, 1912; with an extensiveIrrtroduction. The music puts Gay'ssong texts side by sidewith the first versesof of Tbe Beggar's Opera is taken from the third edition, the originalwords. with an editorial realization the basses.The text has a of Guerinot and Jilg Contexts I: The Beggar'sOpera, eds. German translation. J. V. Guerinotand Rodney D. Jilg,Hamden, 1976. Source Chappell tWilliam Chappell, Popular Music of the Olden readingson the 18th-centurybackground and response.
Load more

Recommended publications
  • The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
    THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document.
    [Show full text]
  • Brave New World Service a Unique Opportunity for the Bbc to Bring the World to the UK
    BRAVE NEW WORLD SERVIce A UNIQUE OPPORTUNITY FOR THE BBC TO BRING THE WORLD TO THE UK JOHN MCCaRTHY WITH CHARLOTTE JENNER CONTENTS Introduction 2 Value 4 Integration: A Brave New World Service? 8 Conclusion 16 Recommendations 16 INTERVIEWEES Steven Barnett, Professor of Communications, Ishbel Matheson, Director of Media, Save the Children and University of Westminster former East Africa Correspondent, BBC World Service John Baron MP, Member of Foreign Affairs Select Committee Rod McKenzie, Editor, BBC Radio 1 Newsbeat and Charlie Beckett, Director, POLIS BBC 1Xtra News Tom Burke, Director of Global Youth Work, Y Care International Richard Ottaway MP, Chair, Foreign Affairs Select Committee Alistair Burnett, Editor, BBC World Tonight Rita Payne, Chair, Commonwealth Journalists Mary Dejevsky, Columnist and leader writer, The Independent Association and former Asia Editor, BBC World and former newsroom subeditor, BBC World Service Marcia Poole, Director of Communications, International Jim Egan, Head of Strategy and Distribution, BBC Global News Labour Organisation (ILO) and former Head of the Phil Harding, Journalist and media consultant and former World Service training department Director of English Networks and News, BBC World Service Stewart Purvis, Professor of Journalism and former Lindsey Hilsum, International Editor, Channel 4 News Chief Executive, ITN Isabel Hilton, Editor of China Dialogue, journalist and broadcaster Tony Quinn, Head of Planning, JWT Mary Hockaday, Head of BBC Newsroom Nick Roseveare, Chief Executive, BOND Peter
    [Show full text]
  • The Book of Modern Irish Anecdotes
    LONDON GEORGE ROUTLEDGE & SONS.l NOVELS AlfxWO SI^LLW&GS. ^ : Novels at Two Shillings. — Continued. By Author of " Whitefriars." Whitehall. | Owen Tudor. | Caesar Borgia. | Whitefriars. By Fielding and Smollett. Fielding. Smollett. Tom Jones. Roderick Random. Joseph Andrews. Humphrey Clinker. Amelia. Peregrine Pickle. By W. H. Maxwell. Luck is Everything. Wild Sports in the Captain O'Sullivan. Stories of Waterloo. West. Wild Sports and Ad- Captain Blake. Hector O'Halloran. ventures in the The Bivouac. Stories of the Penin- Highlands. Flood and Field. sular War. By Theodore Hook. Gilbert Gurney. Cousin William. Jack Brag. The Parson's Daugh- Man of Many Friends, Maxwell. j ter. Passion and Principle. Cousin Geoffry. All in the Wrong. The Widow and the: Merton. Fathers and Sons. Marquess. Peregrine Bunce. Gervase Skinner. Gurney Married. By G. P. R. James. Agincourt. Forest Days ; or, The Man-at-Arms. Arabella Stuart. Robin Hood. Mary of Burgundy. Arrah Neil. The Forgery. The Old Dominion. Attila. The Gentleman of the One in a Th»usand. Beauchamp. Old School. Philip Augustus. The Black Eagle. The Gipsy. Richelieu. The Brigand. Gowrie ; or, The The Robber. Castelneau. King's Plot. Rose D'Albret. The Castle of Ehren- Heidelberg. Russell. stein. Henry Masterton. Sir Theodore Brough- Charles Tyrrell. Henry of Guise. ton. The Convict. The Jacquerie. The Smuggler. Darnley. John Marston Hall. The Stepmother. Delaware. The King's Highway. A Whim and Its Con- De L'Orme. Leonora D'Orco. sequences. The False Heir. Morley Emstein. The Woodman. My Aunt Pontypool. Published by George Routlcdge and Sons. — Novels at Two Shillings. Continued. By Various Authors.
    [Show full text]
  • THE PASSION of MUSICK Dorothee Oberlinger – ENSEMBLE 1700 Vittorio Ghielmi – IL SUONAR PARLANTE
    THE PASSION OF MUSICK dorothee oberlinger – ENSEMBLE 1700 vittorio ghielmi – IL SUONAR PARLANTE – G0100031694135 – Recording: April 10 –14, 2014; Köln Deutschlandfunk Kammermusiksaal Executive Producer: Dr. Christiane Lehnigk Recording Producer: Peter Laenger, TRITONUS Musikproduktion GmbH, Stuttgart Recording Engineer: Christoph Rieseberg Text Booklet: Dorothee Oberlinger & Helga Heyder-Späth English Translation: Stewart Spencer Photos and Art Direction: Johannes Ritter With Support from the DKB Stiftung für gesellschaftliches Engagement A coproduction with Deutschlandfunk G0100031694135 P+C 2014 Deutschlandradio / Sony Music Entertainment 1 the duke of norfolk (paul’s steeple) 3’17 9 parson’s farewell 1’51 From: “The Division Violin” (London, 1685), mixed with Variations Tune from “The English Dancing Master” (1651) from “The Division Flute” (London, 1706) and improvised Variations with Variations by Jacob van Eyck (c1590–1657) 4 recorders, bagpipe, 4 viols, harp, virginal, bhodrán soprano recorder (DO), 3 viols (VG, RP, CC), harp 2 adson’s masque 1’40 10 the irish ho-hoane 5’44 John Adson (c1587–1640), from “Courtly Masquing Ayres” (1621) Vittorio Ghielmi (2012), after a traditional Irish Tune in 4 recorders, 4 viols, harp, virginal “Fitzwilliam Virginal Book” (c1610–1625) bass and soprano recorder (DO), 3 viols (VG, RP, CC) 3 lord galway’s lamentation 1’23 Turlough O´Carolan (1670–1738) 11 the pashion of musick 4’20 harp Captain Tobias Hume (1569–1645) bass recorder (DO), 3 viols (RP,VG, CC) 4 cupararee or gray’s inn 3’05 pro. by
    [Show full text]
  • The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
    RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats.
    [Show full text]
  • John Playford I
    JOHN PLAYFORD THE SEVENTEENTH-CENTURY MUSIC PUBLISHER Part I HOW few, save the musical antiquary, know the name of John Playford or the great debt we owe to him in the matter of seventeenth-century music! There can be but little doubt that but for him the music of that period would have been non-existent to the moderns, except what little had survived the wear and tear of manuscript copies. It was John Playford who, during the troublous and uncertain times of the Commonwealth, when music of a light kind was in disfavour, had the pluck to publish gay songs and pretty dances for the benefit of those whose hearts were not dulled by the Puritanic fanaticism. Had it not been for him music might have fallen stillborn from the brains of the few musicians who composed it. Music publishing had been a dead letter in England for at least a quarter of a century, for after the age of Elizabeth, when in spite of the patents granted to Byrd, Tallis and Morley (who had sole power to print and publish music and a veto over imported music) madrigals were freely published. The musical works published between the death of Elizabeth and the advent of Playford were few indeed. John Playford was born in 1623, died in 1686. If we are to believe the Dictionary of National Biography, he was of a Norfolk family, but of his education we have no knowledge, nor are there in existence any particulars of his early life. And, here to c]ear the ground, let me at once point out certain errors which have been repeated from Sir John Hawkins' History of Music.
    [Show full text]
  • On Common Ground 3: John Playford and the English Dancing Master, 1651 DHDS March 2001 Text Copyright © Jeremy Barlow and DHDS 2001
    On Common Ground 3: John Playford and the English Dancing Master, 1651 DHDS March 2001 Text copyright © Jeremy Barlow and DHDS 2001 TUNES IN THE ENGLISH DANCING MASTER, 1651: JOHN PLAYFORD’S ACCIDENTAL MISPRINTS? Jeremy Barlow This conference has given me the opportunity to investigate a theory I began to formu- late twenty years ago, when I compiled my book of the country dance tunes from the 18 editions of The Dancing Master1 . It seemed to me, as I compared variant readings from one edition to another, that John Playford’s original printer, Thomas Harper2 , had lacked certain bits of musical type for the first edition of 16513 (as in all subsequent editions, the music was printed with movable type). In particular it seemed that he lacked the means to indicate high or low notes which required additional stave lines, and that he lacked a sufficient number of sharps4 . I also wondered if this lack of type might not be the principal reason for Play- ford’s claim on the title page of the second edition (1652), that it is ‘Corrected from many grosse Errors which were in the former Edition’. Despite the correction of the notorious misprint reversing the symbols for men and women in the key to the first edition, there are, as the second edition progresses, many more alterations to the tunes than to the dance in- structions. Initially therefore one might conclude that all the musical changes are correc- tions, and that musicians today who fail to take them into account play the tunes wrongly. I hope to demonstrate that the implications of the alterations are far from being clear cut.
    [Show full text]
  • Baroque Recorder Anthology Contents
    Saunders Recorders. Schott... Baroque Recorder Anthology Contents Baroque Recorder Anthology - Volume 1. Schott ED 13134 Full Backing Track Track Number Number Title and Composer 01 31 Branle - Jean Hotteterre 02 32 Menuett - Jean Hotteterre 03 33 Mir Hahn en neu Oberkeet - Johann Sebastian Bach 04 34 Boureé - John Blow 05 35 March - Henry Purcell 06 36 Rondeau - Jean-Baptiste Lully 07 Bockxvoetje - Jacob van Eyck 08 Onder de linde groene - Jacob van Eyck 09 36 The British Toper - John Playford 10 38 Rigaudon - Louis Claude Dacquin 11 De zoete zoomer tijden - Jacob van Eyck 12 39 Menuett - George Frideric Handel 13 40 Rigaudon - George Frideric Handel 14 41 Menuet - George Frideric Handel 15 42 Vain Belinda - Anon. 16 43 Don't You Tickle - Anon. 17 44 Country Bumpkin - Anon. 18 45 Fall of the Leafe - Martin Pearson 19 46 Boureé - Johann Fischer 20 Fairy Dance - Anon. Scottish Reel 21 The Gobbie-O - Anon. Scottish Jig 22 47 L'Inconnu - Anon. French 23 48 Contradance - Anon. French 24 49 Gentille - Anon. French 25 50 Masquerade Royale - Roger North 26 51 North's Maggot - Roger North 27 52 Menuet & Trio - James Hook 28 53 Air - Henry Purcell 29 54 Minuet - Jean-Baptiste Lully 30 55 Hornpipe - Henry Purcell All the above tracks are in CD format on the disc provided. (Unaccompanied piecs have no backing track.) Saunders Recorders. Schott... Baroque Recorder Anthology Contents Baroque Recorder Anthology - Volume 2. Schott ED 13135 01... Minuet - Georg Philipp Telemann 02... Rigaudon - Georg Philipp Telemann 03... Passepied - Michel Richard Delalande 04... Trumpet Air - George Bingham 05..
    [Show full text]
  • Robert Shay (University of Missouri)
    Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
    [Show full text]
  • CDS 4 6 17 with Wendy Week 1.Pages
    Amherst Early Music Festival 2017 Central Program Classes Week I Music of England and Spain: Medieval, Renaissance, and Baroque Welcome to our exciting Central Program class offerings! Grab a highlighter and take a deep breath! This catalogue includes classes for Week I for students registering for the Central Program. Here’s how to register for classes: 1. Read the catalogue carefully. Classes are listed by period of the day, then by instrument. Pay particular attention to the Classes of General Interest! 2. Select three choices for each period. Occasionally we need to cancel or shift classes, and that’s when your alternate choices are vital to us. By making three choices now, you help make the class sorting process move much more quickly than if we have to call you for your choices.* 3. To fill out a class choice form go to http://www.amherstearlymusic.org/Festival_Classes_combinedform or request a paper form by emailing [email protected]. Fill out the evaluation, giving us as much information about your skills and desires as you can. If filling out a paper form, indicate your 1st, 2nd, and 3rd class choices for each period by copying the class’s sorting codes [in square brackets after the class’s title] onto the Class Choice Form. If you are filling out the form online, you will choose classes by title in the drop- down menu. 4. If you are also attending Week II, please fill out a separate form for Week II classes, using the separate Week II Class Descriptions. If sending paper forms, mail them to us at Amherst Early Music, 35 Webster Street, Nathaniel Allen House, West Newton MA 02465.
    [Show full text]
  • ENGLISH BAROQUE with CIRCA 1 Magical Spell of the Night English Baroque with Circa
    CREATIVE TEAM 2019 Paul Dyer AO Artistic Director Yaron Lifschitz Artistic Director, Circa CANBERRA INTERNATIONAL Benjamin Knapton Associate Director MUSIC FESTIVAL Libby McDonnell Costume Design Llewellyn Hall Peter Rubie Lighting Design Thursday 2 May 7:30pm Yaron Lifschitz, Libby McDonnell, Richard Clarke Set Design SYDNEY This Production premiered on 2 May 2019 at Llewellyn Hall as part of City Recital Hall the Canberra International Music Festival. Wednesday 8 May 7:00pm Friday 10 May 7:00pm CHAIRMAN’S 11 Saturday 11 May 2:00pm Proudly supporting our guest artists. Saturday 11 May 7:00pm Concert duration approximately 90 minutes with no interval. Please note Wednesday 15 May 7:00pm concert duration is approximate only and is subject to change. Friday 17 May 7:00pm We kindly request that you switch off all electronic devices during the performance. MELBOURNE Melbourne Recital Centre Saturday 18 May 7:00pm Sunday 19 May 5:00pm BRISBANE QPAC Tuesday 21 May 7:30pm A Baroque wig: Paul Dyer’s first inspiration image for the series. ENGLISH BAROQUE WITH CIRCA 1 Magical Spell of the Night English Baroque with Circa PRELUDE Alex Palmer English Overture SCENE ONE – THE COURT Henry Purcell Curtain Tune from Timon of Athens, Z 632 John Dowland Behold a Wonder Here from The Third and Last Booke of Songs or Aires Henry Purcell Overture from King Arthur, Z 628 Henry Purcell Aire from King Arthur, Act II, Z 628 Henry Purcell Hornpipe from King Arthur, Act III, Z 628 Henry Purcell How Blest are Shepherds from King Arthur, Act II, Z 628 Henry Purcell 3 Parts Upon a Ground, Z 731 SCENE TWO – THE BEDROOM Henry Purcell Overture in C minor, Air in C minor, The Triumphing Dance from Dido & Aeneas, Z 626 Henry Purcell Ritornelle in D minor, Thanks to these lonesome vales, Dance in D minor from Dido & Aeneas, Z 626 George Frideric Handel Gentle Morpheus, son of night from Alceste, HWV 45 SCENE THREE – THE CHAPEL Arcangelo Corelli Concerto grosso in D major, Op.
    [Show full text]
  • JOHN PLAYFORD, and Uth-CENTURY MUSIC PUBLISHING by FRANK KIDSON
    JOHN PLAYFORD, AND Uth-CENTURY MUSIC PUBLISHING By FRANK KIDSON ARISH Clerk and publisher, "Honest" John Playford. Honest, an enviable epithet to have applied to one who- Downloaded from P makes profit from the labour and brains of others. But it appears to have been a well-merited one, for John Playford throughout the whole forty years of his trading seems to have won the trust and friendship—or more truly the af- fection—of the musicians who contributed to his publications http://mq.oxfordjournals.org/ and of the amateurs who bought them. We may fitly here recall the character and status of an early- time London Parish Clerk, as depicted in the songs and the novels of the 18th century, with a full belief that those of the preceding century were just about the same. A rather meek individual, much absorbed in his professional duties on Sundays and an appendage to his parson on week days, who rehearsed his psalm tunes at odd intervals and was at University of Glasgow on June 25, 2015 first among the choice spirits of a convivial club, which met in a snug Tavern within the shadow of the City Church he served. Here we may suppose he would lead off (first setting the note true with his pitch pipe, the insignia of his calling) a humor- ous catch, none too delicate in its wit, for catches were not for ladies' ears, and at the conclusion slapping his neighbour on the shoulder and draining his tankard with the best. We might also imagine him as a man who did not disdain to run errands for his clerical master, perchance to dress his Reverence's wig if his talents lay that way, or even at a push of household diffi- culty help in a domestic job.
    [Show full text]