PROGRAM NOTES Henry Purcell
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Pleasures of the Imagination
Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 PLEASURES OF THE IMAGINATION © Cambridge University Press www.cambridge.org Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 STEVEN N. ZWICKER Composing a literary life: introduction John Dryden has come down to us through the exemplary practices of liter- ary editing: a large number of uniform volumes, learnedly prefaced, packed with history and explanatory notes. Who first thought of The Works of John Dryden? Not, I think, the poet himself. During his long writing life Dryden showed little interest in collecting or revising his work; neither he nor appar- ently anyone else kept his manuscripts; and Dryden seldom wrote of, or even seems to have imagined, a coherent and progressive literary career of the kind that was often on Spenser’s or Milton’s mind. Of course, the idea of collected works would have been obvious to Dryden from the humanist editions of classical authors, from The Works of Ben Jonson or the Shakespeare folios, or from collected editions even closer to hand – Cowley, Cleveland, and Suckling. Dryden himself contributed an elegy to John Oldham’s Remains, and he knew too of the CEuvres of Corneille and Racine. His shrewd pub- lisher Jacob Tonson made an effort at such collection in the 1690s, but the sustained impulse to collect “the works” began after Dryden’s death, first with Tonson’s various compilations of poems and plays, then at the end of the eighteenth century with Edmond Malone’s edition of Dryden’s prose. -
The English Anthem Project the Past Century and a Half, St
Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists. -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
Durham E-Theses
Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr. -
AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020
AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020 Join us for AEM ONLINE! Four online class sessions are offered using the Zoom meeting app, or your web browser. Register for any number of sessions, $25 per session. Instructors will be in touch ahead of time with music, Zoom meeting links will be sent out on Friday after registration has closed. All sessions run 90 minutes, with the first 15 minutes for introductions. If for any reason the session doesn’t work for you, we’ll refund your money. Tish Berlin will hold a Zoom tutorial on Friday, April 24, at 4:00 p.m. Eastern/1:00 p.m. Pacific time for any participants who would like help with Zoom. She will send out a meeting link Friday morning to all participants but only those who are new to Zoom or who need a refresher need to join the meeting. If you are an old hand by now you can ignore the invitation. Registration deadline for all classes is Friday by 9:00 a.m. Eastern Daylight Time. SCHEDULE (Eastern Daylight Time) Saturday, April 25, 2020 1:00 p.m. (10:00 a.m. PT) Viol Duets with Ros Morley 3:00 p.m. (12:00 p.m. PT) Introduction to Baroque Opera with Dylan Sauerwald Sunday, April 26, 2020 1:00 p.m. (10:00 a.m. PT) An English Banquet of Song with Emily Eagen 3:00 p.m. (12:00 p.m. PT) Recorder Technique with Aldo Abreu CLASSES: Viol Duets: a tasting menu with Ros Morley Saturday, April 25, 1:00 p.m. -
Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
SouthamptoUNIVERSITY OF n University of Southampton Research Repository ePrints Soton Copyright Notice Copyright and IMoral Rights for this chapter are retained by the copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This chapter cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. the content must not be changed in any way or sold commercially in any format or medium without the formal permission of the rights holder. When referring to this work state full bibliographic details including the author of the chapter, title of the chapter, editor of the book , title of the book, publisher, place of publication, year of publication, page numbers of the chapter Author of the chapter Andrew Pinnock Title of the chapter King Arthur expos'd: a lesson in anatomy Edrtor/s Curtis Price Title of the book Purcell Studies ISBN 0521441749 Publisher Cambridge University Press Place of publication Cambridge, UK Year of publication 1995 Chapter/Page numbers 243-256 n King Arthur tx.^osd'. a lesson in anatomy ANDREW PINNOCK We must admit that they are dead. .They have in no case been adopted into the professional repertory, and it is not likely that they will ever appeal to the professional mind - at any rate in their own country. On that dispiriting note Edward J. Dent concluded Foundations of English Opera sixty-five years ago.' And not much has happened since to prove him wrong: more student revivals; elaborate professional performances of The Fairy Queen in Aix-en-Provence, Lisbon more recently; but still in Great Britain no sign of a fully staged professional production faithful to the letter or even to the spirit of 1690s semi-opera. -
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. -
The Harpsichord Master of 1697
The Harpsichord Master of 1697 and its relationship to contemporary instruction & playing by Maria Boxall The earliest known attempt (in England) to transmit and help to them, Entituled, An Introduction to knowledge concerning the playing of keyboard the Skill of Musick, which doth direct them to instruments by means of the printed word was understand the Gamut, and by it the places and made exactly a century before the publication of the names of their Notes, &c. But as for the true Harpsichord Master 1. In that year (1597) there was Fingering and severall graces used in the licensed to be printed by one William Haskins 'A playing of this Instrument, it cannot be set down playne and perfect Instruction for learnynge to play in words, but is to be obtained by the help and on ye virginalles by hand or by booke both by Directions of Skilfull Teachers, and the constant notes and letters or Tabliture never heretofore sett practice of the learner, for it is the Practick part out . .'. Such a book would almost certainly have crowns the Work.' included some music. If so, the claim of the famous However a later, further expanded edition of Parthenia of 1612/13 to be 'the first musicke that ever 1678 has a different subtitle: 'New lessons and was printed for the virginalls' could not have been Instructions for the virginals or harpsychord' and in correct 2. It seems probable, however, that Haskins the preface we read: never made use of his licence, for although the 'It has ever been my opinion ,that if a man made any book would undoubtedly have been popular, and discovery, by which an Art or Science might be the playing technique it presumably described - that learnt with less expence of Time and Travel, he was of the English virginalists (as can be reconstructed obliged in common Duty to communicate the from their manuscripts) - did not become seriously knowledge thereof to others ...' 'Many of those who outmoded during the following century, no copies bought the former impression of Musicks Hand- survive. -
PURCELL CHACONNE DIOCLESIAN Complete Masque from Timon of Athens
dio single booklet.qxd 19/3/08 10:52 am Page 1 Chan 0569/70 PURCELL CHACONNE DIOCLESIAN complete Masque from Timon of Athens Catherine Pierard James Bowman John Mark Ainsley Michael George Collegium Musicum 90 Richard Hickox CHAN 0569 - BOOK.qxd 19/3/08 10:43 am Page 2 Henry Purcell (1659–1695) Dioclesian Catherine Pierard soprano James Bowman alto Mark Padmore tenor* John Mark Ainsley tenor Michael George bass COMPACT DISC ONE 1 First Musick 2:12 2 Second Musick 1:25 3 Overture 3:45 ACT I 4 First Act Tune (Hornpipe) 0:43 ACT II 20:15 5 Song (Bass) ‘Great Diocles the Boar has kill’d’ – 2:20 Chorus ‘Sing Iô’s!’ 6 Song (Soprano) ‘Charon the peaceful Shade invites’ 1:29 Henry Purcell 7 Symphony for Trumpets and Violins 1:27 Mary Evans Picture Library 8 Duet (Soprano, Bass), Chorus ‘Let all mankind the 1:17 pleasure share’ 9 Martial Song (Tenor) ‘Let the soldiers rejoice’ 4:35 Trio (TT*B) ‘Rejoice with a general voice’ Retornello (for trumpets and hautboys) Trio (TT*B) ‘To Mars let ’em raise – Rejoice with a general voice’ Retornello (for trumpets and hautboys) 3 CHAN 0569 - BOOK.qxd 19/3/08 10:43 am Page 4 10 A Symphony of Flutes – Michael George a Bacchanalian, shepherd Nathan Berg a Silvan, a Bacchanalian Song (Alto) ‘Since the toils and the hazards’ Quartet (SATB) ‘Let the priests…’ – Chorus ‘All sing…’ 5:16 2 Cupid, Chorus ‘Call the nymphs’ 2:30 11 Dance of Furies 3:01 3 Duet (a Bacchanalian & a Silvan) ‘Come, come away’ 1:07 12 Second Act Tune 0:49 4 Chorus ‘Behold, O mighty’st of Gods’ 3:13 ACT III 9:41 5 Paspe (The first entry of heroes on the stage) 0:44 13 Two in one upon a Ground. -
Program Notes to Henry Purcell but Now Considered to Be by His Student John Weldon
1704 once again sported a new score first attributed Program Notes to Henry Purcell but now considered to be by his student John Weldon. In William Shakespeare’s Twelfth Night music is called the “food of love,” and indeed music played a Purcell’s own contribution to Shakespearean vital part in his plays. Fanfares heralded music drama is his 1692 semi-opera, The Fairy performances. Sweet ayres and songs filled with Queen. Purcell had already composed an innuendo, sung by servants and clowns, commented impressive body of incidental music for plays by on the actions of their betters. And a merry jig would Shadwell, Dryden, and William Congreve. (This conclude the day’s drama, be it a comedy, tragedy, includes the celebrated “Music for a while” from or romance. In Shakespeare’s “wooden O” the Dryden’s Oedipus.) His one “pure opera” is the musicians’ loft was as essential as the unworthy miraculous miniature, Dido and Aeneas. Yet it is his scaffold on which your imaginary forces worked. semi-operas where Purcell’s most accomplished scores for the theatre are to be found. His Little of the music presented in the Globe during preceding efforts in the genre, Dioclesian and King Shakespeare tenure survives. The doomed Arthur, were enormous successes and the music of Desdemona likely sang this folk melody to the The Fairy Queen exceeds them both in length, “Willow Song” in Othello. “Full fathom five” by complexity, and dramatic scope. It is a very loose Robert Johnson, lutenist to Shakespeare’s King’s adaptation of A Midsummer Night’s Dream, but Men theatrical troupe, was probably performed in Purcell did not set any of Shakespeare’s text. -
Rev. William Davenant) Three Musical Settings of the Witches’ Scenes in Macbeth Survive
Folger Shakespeare Library Performing Restoration Shakespeare 1. Manuscripts Macbeth (rev. William Davenant) Three musical settings of the witches’ scenes in Macbeth survive. The first, by Matthew Locke, only survives in fragmentary form (see printed sources below). The second, by John Eccles, dates from ca. 1694. The third setting, by Richard Leveridge, dates from ca. 1702 and was performed well into the 19th century. The Folger holds several important sources for the Macbeth music, as noted below. (Charteris 108) W.a.222-227 and W.b.554-564 Partbooks copied ca. 1800 with later additions. Volumes were used in, and probably compiled for, the Oxford University Music Room concerts. Leveridge’s Macbeth music appears in W.a.222-227 and W.b.554-561. (Charteris 115) W.b.529 Copied in the late eighteenth century. The first section consists of miscellaneous pieces, whereas the second section is devoted to Richard Leveridge’s Macbeth, which includes theatrical cues. (Charteris 117) W.b.531 Manuscript score with John Eccles’s Macbeth music. Copied from Lbl. Add. Ms. 12219 by Thomas Oliphant in the mid-nineteenth century. (Charteris 122) W.b.536 Manuscript score with Richard Leveridge’s Macbeth music. Copied in late eighteenth century. (Charteris 123) W.b.537 Manuscript score with Leveridge’s Macbeth music. Copied in the early eighteenth century with later additions. First owner of the manuscript was almost certainly the Drury Lane Theatre. (Charteris 126) W.b.540 Manuscript score with Leveridge’s Macbeth music. Copied in the mid-eighteenth century. (Charteris 131) W.b.548 Manuscript score with Leveridge’s Macbeth music.