This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The life and works of Johann Christoph Pepusch (1667-1752), with special reference to his dramatic works and cantatas. Cook, Frederick Donald The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 THE LIFE AND WORKS OF JOHANN CHRISTOPH PEPUSCH (1667-1752), WITH SPECIAL REFERENCE TO HIS DRAMATIC WORKS AND CANTATAS (In Two Volumes) by Donald Frederick Cook VOLUME I Dissertation submitted for the degree of Doctor of Philosophy in the Faculty of Music University of London King's College October 1982 2 ABSTRACT Pepusch's career in London spanned over fifty years and embraced a wide range of musical interests: lie was a composer, performer, musical director, scholar, and teacher. Until recently, musical historians have relied heavily on the eighteenth-century accounts of both Hawkins and Burney, whose aopraisals of Pepusch's significant contribution to music in London are perfunctory and sometimes unfair. This dissertation attempts to correct and expand their accounts with up-to-date inform- ation, and, through an examination of selected musical works, to demon- strate that Pepusch may rightly be included among the important minor composers of his time. Because the phases of his activity as a com- poser are fairly hell-defined, discussion of bibliographical and stylistic matters are integrated with te chronological presentation of biographical information. While the need for biographical continuity and completeness dictates that each of the varied facets of his career must be looked at, the principal investigation concentrates on only one of them, Pepusch's work in the theatre from c1700 to c1732. This forms the body of this study (Chapters 2, 3, 5, and 6). The four Italianate masques, composed for the Theatre Royal in Drury Lane in 1714-16, are of special significance, and the rather lengthy tr2atrnent of them in Chapter 3 serves as the focal point for a critical examination of Pepusch as a dramatic composer. The Introduction (summarizing his life before coming to London), as well as the discussion of his instrumental compositions in Chapter 1, are not directly related to his work in the theatre, but are concerned with those events which prepared him for it. Chapter 4 reviews his work as musical director and composer for the Duke of Chandos at Cannons. The final chapter considers Pepusch as a bibliophile, scnolar, and teacher, and provides other information about the closing years of his life as organist of the Charterhouse. A thematic catalogue of complete works, containing over 1,450 incipits, may be found in Volume II (Appendix A). The volume also includes an inventory of sources (manuscript, Appendix B, and printed, Appendix C), an index of themes (Appendix D), and an alphabetical index of first lines for vocal works (Appendix E); all appropriately cross-referenced. * * * 3 TABLE OF CONTENTS Volume I page List of Abbreviations 6 Preface 9 Introduction 18 Chapter 1 Chamber Music and the Concert 26 Rooms to 1714 Chapter 2 Pepusch and the Theatres to 1714 69 Chapter 3 The Drury Lane Masques (1714-1716) 102 Chapter 4 Interlude: The 'Cannons Consort' 184 (ci 716-cl 732) Chapter 5 The Cantatas 21 8 Chapter 6 Lincoln's Inn Fields Theatre 272 (1 716-cl 733) Chapter 7 The Closing Years (1734-1752): 309 Pepusch the Teacher, Scholar, and Bibliophile Bibliography: (A) Printed Books 348 (B) Printed Libretti 362 (C) Manuscripts 363 Volume II Appendices: Thematic Catalogue and Index of Compi ete Works Explanatory Note 4 Appendix (A): Thematic Catalogue of 15 Original Works Appendix (B): Inventory of Manuscript Sources 217 Appendix (C): Inventory of Printed Sources 271 before 1850 Appendix (D): Index of Themes 301 Appendix (E): Index of First Lines, Titles, 357 and Sub-titles for Vocal Works Addendum 374 4 Supplementary Material: bound in following page 374 1) Off-print of article: D. F. Cook, 'FranSoise Marguerite de PEpine: The Italian LadyV, in Theatre Notebook, xxxv/2 (1981) 58-73; concluded in No. 3 (1981), 104-13 2) Off-print of article: D. F. Cook, 'Venus and Adonis: An English Masque "After the Italian Manner"', in Musical Times, cxxi/165l (September 1980), 553-57. 3) Printed Programme for the revival of Pepusch's Venus and Adonis, given by the Holme Pierrepont Opera Trust, Nottingham, on 17-20 September 1980. (Programme notes by D. F. Cook.) 4) Printed Programme for the revival of Pepusch's The Death of Dido, given by the Holme Pierrepont Opera Trust, Nottingham, on 14-19 September 1981. (Programme notes by D. F. Cook.) LIST OF PLATES Volume I page Plate 1 Reproduction of a portrait of the young 17 Pepusch by an unknown painter, c1690 Plate 2 Reproduction of the title page of 41 Brussels, Conservatoire MS 26477 Plate 3 Reproduction of the only known Pepusch 52 autograph score, signed and dated (New Bodleian Library, Tenbury MS 1175) Plate 4 Reproduction of a portrait of Doctor 98a Pepusch in academic robes, painted probably by Thomas Hudson, after July 1 71 3 Plate 5 The characters from the 1980 revival of 132 Venus and Adonis Plate 6 Scenes from the 1981 revival of The 155 Death of Dido 5 LIST OF TABLES Volume I page Table 1 Suniiiary of Theatre Managements, 1700-1717 71 Table 2 The Italianate Masques of 1714-18 -- 156 Breakdown of Formal Structures Table 3 Singers -- Distribution 0f Arias (1715-16) 170 Table 4 Compositions by Pepusch Included in 211 A Catalogue of Anthems, Cantatas, and Other Musick Belonging to his Grace, James, Duke of Chandos &c. Table 5 Solo Cantatas by Pepusch for which 22 3a Music Survives Table 6 Solo Cantatas by Pepusch for which 253 No Music is Known to Survive Table 7 Cantatas for Two Solo Voices by Pepusch 256 for which Music Survives Table 8 Genealogy of Pepusch and his Pupils 324 * * * 6 LIST OF ABBREVIATIONS The following abbreviations, adopted from the current sigla of the Rlpertoire International des Sources Musicales [RISM], are used to denote the location of sources. It should be noted that, since the majority of my sources are located in Great Britain, the prefix 'GB'- is dropped from the siglum in referring to them: in the case of foreign sources, however, the prefix indicating the country is retai ned. B- Belgium Bc: Bruxelles, Bibliotheque du Conservatoire Royal de Musique BRD- Bundesrepublik Deutschland (West Germany) Hvl: Hanover, Niedersâchsisches Hauptstaatsarchiv DDR- Deutsche Demokratische Republik (East Germany) Dl: Dresden, Schsische Landesbibi-fothek Pph: Potsdam, Pâdagogische Hochschule ROu: Rostock, Wi1helm-Pieck-Universjttsbjbliothek SW: Schwerin, Mecklenburgische Landesbibi iothek EIR- Eire (Republic of Ireland) Dtc: Dublin, Trinity College F- France Pc: Paris, Bibliothque nationale (fonds du Conservatoi re) 7 [GB] - Great Britain BENcoke: Bentley (Hampshire), Gerald Coke, private collection Bu: Birmingham, The Barber Institute of Fine Arts, University of Birmigham CDp: Cardiff, Central Library Cfw: Cambridge, The Fitzwilliam Museum Cjc: Cambridge, St. John's College Ckc: Cambridge, King's College Cpc: Cambridge, Pembroke College Cu: Cambridge, University of Cambridge Library DORjeans: Dorking (Surrey), Susi Jeans, private coil ection DRc: Durham, Cathedral Library Ge: Glasgow, Euing Music Library Lam: London, The Royal Academy of Music Lbl: London, The British Library, Department of Manuscripts Lcm: London, The Royal College of Music Lco: London, The Royal College of Organists Ldc: London, Duiwich College IF: Lichfield, Cathedral Library Lkc: London, King's College (Faculty of Music), University of London Lpo: London, Public Record Office Lwa: London, Westminster Abbey Mp: Manchester, Central Library Ob: Oxford, The Bodleian Library Ob(n): Oxford, The New Bodleian Library Och: Oxford, Christ Church College WO: Worcester, Cathedral Library I- Italy Bc: Bologna, Civico Museo Bibliografico-Musicale J-. Japan TnT: Tokyo, Nanki Music Library (The Ohki Collection) 8 S- Sweden Uu: Uppsala, Universitetsbiblioteket US - United States of America CAh: Cambridge, Massachusetts, Harvard University (Houghton Library) NYp: New York, Public Library R: Rochester, New York, Eastman School of Music, University of Rochester (Sibley Music Library) SM: San Marino, California, The Henry E. Huntington Library and Art Gallery Wcm: Washington, D. C., The Library of Congress, Music Division Wfs: Washington, 0. C., The Folger Shakespeare Library The following abbreviations are used to indicate scoring: Vocal (a) Chorus (in lower-case) (b) Solo Vofce (in upper-case) s soprano (or treblel S soprano (or treble) a alto (or counter-tenor) A alto (or counter-tenor) t tenor T tenor b bass/baritone B bass Instrumental fi flute (i.e. recorder) yin violin fl(G) transverse or German flute via viola ob oboe vlc violoncello (or gamba) bsn bassoon db double bass tpt trumpet org organ hp harp bc basso continuo NOTE: When listing the instrumentation, violoncello, double bass, and organ are included only when they are so labelled in the source, otherwise basso continuo (bc) is indicated.