3*79 A/B/c SELECTED VAUXHALL SONGS OF JAMES HOOK, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF B. BRITTEN, J.S. BACH, G. FAURE, G. ROSSINI, A. SCARLATTI, R. VAUGHAN WILLIAMS, F. SCHUBERT, R. STRAUSS, AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS by Robert Farias Austin, Jr., B.M., M.M. Denton, Texas August, 1983 © 1984 ROBERT FARIAS AUSTIN, JR. All Rights Reserved Austin, Robert F., Selected Vauxhall Songs of James Hook, £ Lecture Recital, Together with Three Recitals of Selected ®• Britten, J.S^. Bach, G. Faure, G. Rossini, — * Scarlatti, R. Vaughan Williams, F. Schubert, R. Strauss, anc^ Others. Doctor of Musical Arts (Vocal Performance), May, 1984, 64 pp., 15 illustrations, bibliography, 32 titles. James Hook was employed as organist, composer and music director at Vauxhall Gardens in London for forty-six years, from 1774-1820. He was preceded in that position by Thomas Arne, a composer better known to musicians of the twentieth century. Hook had an enormous output including over 2000 songs, most of which were intended for performance at the gardens. Many of these songs were popular enough to be published in New York, Baltimore, and Philadelphia, as well as London. These songs are generally in the lightly textured gallant style popularized in England most notably by J.C. Bach. Stainer & Bell has recently published a collection of eight songs by James Hook as part of a series edited by Michael Pilkington. Very little has been written about Hook even though his songs equal in quality those of his contem- poraries. It is one purpose of this lecture recital to demonstrate the appropriate performing style of these songs. They were originally performed with orchestral accompaniment by the best singers of the day. Performance practices parallel those of the English operatic air. Therefore, like the more familiar Italian baroque repertoire, they may be sung in a simple straightforward manner by young students, or performed in an elaborately-ornamented style by more advanced singers. The lecture will cover four songs of varying styles, two of which are available in the Stainer & Bell collection noted above. The majority of James Hook's 2000 songs were originally accompanied by orchestra. However, when published for voice and keyboard, only the bass line and melody were given. Almost all of his songs exist only in this arrangement Therefore, a second goal of this research project is to de- fine an appropriate style of realization of the accompaniment for them. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. 111 TABLE OF CONTENTS PERFORMANCE PROGRAMS Page First Recital Second Recital VI lecture Recital •••••••••••• V-Ll Fourth Recital viil LIST OF ILLUSTRATIONS • ••••••••••• iX PREFACE x CHAPTER I. JAMES HOOK 1 II. VAUXHALL GARDENS 8 III. SELECTED SONGS 21 "No, No, No, It Mast Not Be" "0 Listen to the Voice of Love" "She Lives in the Valley Below" "Within a Mile of Ediriboro* Town'? J.C. Bach and the Gallant Style Accompaniments Harmony Form Text Melody Range Performance Practice Conclusion BIBLIOGRAPHY 51 IV NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents ROBERT AUSTIN, Tenor In Graduate Recital with Sharon Haslund, Piano assisted by MARILYN RAUCH, Flute STERLING PROCTER, French Horn Monday, November 25, 1974 8:15 p.m. Recital Hall Four songs to texts by Wolfgang von Goethe Nahedes Geliebten Franz Schubert Geheimes Franz Schubert Wanderers Nachthed Franz Schubert DerMusensohn Franz Schubert Wo wird in diesem Jammerthale vor meinen Geist, from Cantata No. 114, Ach lieben Christen j § Bach Miss Rauch ^ Gabriel Faure ^ Gabriel Faur£ Mandoline Gabriel Faure Chanson d Amour Gabriel Faure rison Gabriel Faur£ eurjetee Gabriel Faur6 V iens, gentille dame, from La Dame Blanche Fr. Adrien BoIeldieu Intermission Serenade . Benjamin Britten Prologue Pastoral (Cotton) Nocturne (Tennyson) Elegy (Blake) Dirge (Anonymous, 15th century Scottish dialect) Hymn (Ben Johnson) Sonnet (Keats) Epilogue Mr. Procter Presen l ed in part iaJ fulfilim en t of the requirements for the degree Doctor of Musical A rts BEAUMONT CIVIC OPERA Presents Gioacchfno Rossini's LA CENERENTOLA (Cinderella) Opera in Three Acts libretto by • » i- i Jacopo Ferretti Ruth ^Th'o^Mmin Presented by Special arrangement with Belwin Mills Publishing Corp. CONDUCTOR AND STAGE DIRECTOR f PETER PAUL FUCHS CHORUS MASTER DAVID LLEWELLYN ^ ASSISTANT STAGE DIRECTOR GLADYS ARMSTRONG CHOREOGRAPHER JULIO DeBENTENCOURT ^TerfcSfn bA^NIf TBR0SE' Scenic Design by Performing Arts Supply, Inc. ROBERT HOWERY Cast of Characters (In Order of Appearance) CINDERELLA, stepdaughter of Don Magnifico LESTER SENTER ?^NDA! dauShte™ of Don Magnified MARY BETH ARMES h ' EVELYN GLOVER ALIDORO, the Prince's philosopher and magician DAVID BECKETT J^ON MAGNIFICO, Baron of Monte Fiascone . EDWARD BAIRD RAMIRO, Prince of Salerno . ... \ t ROBERT AUSTIN | D^NDINI, the Prince s servant SAIVIUEL BYRD J ; Courtiers and Servants THE ACTION TAKES PUCE IN SALERNO, ITALY ACT I — Room in the home of Don Magnifico INTERMISSION ACT II — Small hall in Prince Ramiro's palace INTERMISSION ACT III — Scene 1—Room in Prince Ramiro's palace Scene 2 — Room in the home of Don Magnificio Is ~pnnm room:ill Prince Ramiro's palace \ , '' '*» fmm Guiid Of MmM Artttts... ], > =V; i . ••"'''V ' • '""7 VI North Texas State University School of Music Lecture Recital ROBERT F. AUSTIN, Tenor Assisted by: Louise Lerch, Piano Monday, August 8, 1983 5:00 Concert Hall SELECTED VAUXHALL SONGS OF JAMES HOOK No, no, no, it must not be Within a mile of Edinboro' town She lives in the valley below 0 listen to the voice of love Presented in partial fulfillment of the requirements for the degree of Doctor of musical Arts VII NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents ROBERT AUSTIN, Tenor In JGraduate Recital with LOUISE LERCH, Piano assisted by ROBERT MEINECKE, Viola Monday, October 17,1983 8-i5D m _ o.isp.m. Concert Hall Toglietemi la vita ancor ...... „ _ •••••• Alessandro Scarlatti U quam tu pulcra es##. • ••..„ „ 4T. *•••••••• Alessandro Grandi lis Thee I would be praising' trom Chmm,sO,mm Johann Sebastian Bach Deposuit potentes from Magnitiot Bach Freundliche Vision • r. - L ••••••• Richard Strauss Morgen • •••#..«... , •••••••• Richard Strauss Seitdem dein Aug' • n- , . ...... *••••••••••••. Richard Strauss He,ml,che Intermission Four Hvmns • •••••«. „ . •••••••• «R.V aughan Williams Lord! Come Away! Who Is This Fair One Come Love, Come Lord Evening Hymn Mr.Meinecke Vilianescas • • • •••••«« *•*•••••» Jean Berber La Madreciea La IMariquita El Callejion El Despechado Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. VI11 LIST OF ILLUSTRATIONS Figure Page 1. James Hook . 4 2. This is a painting by Thomas Rowlandson showing the band stand or orchestra built by Jonathan Tyers at Vauxhall Gardens in 1732 11 3. Frontal view of the Moorish-Gothic orchestra at Vauxhall: unknown artist, c. 1840 12 4. View of the grounds at Ranelagh 16 5. This prospective view of Ranelagh illustrates the scope and elaborate design of the larger pleasure gardens 17 6. The interior of the rotunda at Ranelagh. Fully staged operas were performed in this building 18 7. Measures 16-31 of "She Lives in the Valley Below". .28 8. Measures 20-33 of "The Turtle Dove Coos Round My Cot" with the original piano accompaniment by James Hook . 30 9. Measures 1-12 of Tantivy by Charles Dibdin; accompaniment by George Hogarth published in 1842 31 10. Short score publication of "She Lives in the Valley Below", originally printed in New York c. 1800 34 11. Measures 1-5 of "0 Listen to the Voice of Love'' with the chromatically altered note in the bass line 36 12. Measures 52-63 of "No, No, No, It Must Not Be" with a countermelody in the accompaniment ....... 40 13. Measures 6-8 (incomplete) of "Within a Mile of Edinboro' Town" showing the Scottish snap in the melody 41 14. Excerpts from "Would You Taste the Noontide Air" from Conns by Thomas Arne. The vocal ornamentation is also by Arne and is considered moderate 45 15. Published excerpts from The Duenna by Thomas Linley with some music borrowed from Venanzio Rauzzini., Compare the conservatively ornamented top line with the bottom . 46 ix PREFACE James Hook was employed as organist, composer and music director at Vauxhall Gardens in London for forty-six years, from 1774-1820. He was preceded in that position by Thomas Ame, a composer better known to musicians of the twentieth century. Hook was widely popular in England during his day. He had an enormous output including over 2000 songs, most of which were intended for performance at the gardens. Many of these songs were popular enough to be published in New York, Baltimore, and Philadelphia, as well as London. These songs are generally in the lightly textured gallant style popularized in England most notably by J. C. Bach. Information about Hook and musical materials composed by him are scarce in the United States. Songs are available mostly as photocopies taken from old collections held in a few university libraries around the country. The British Library in London has a nearly complete collection of his music, much of it in manuscript form. Happily, Stainer & Bell has recently published a collection of eight songs by James Hook as part of a series edited by Michael Pilkington. The few books which discuss eighteenth-century vocal music tend to focus on those composers who were successful in opera: Thomas Arne, Stephen Storace, Charles Dibdin and William Shield among others. Unfor- tunately, James Hook wrote only a few operas, and they were not highly successful. Consequently, very little has been written about him even x though his songs equal in quality those of his contemporaries and far outnumber them in quantity.