Purcell (Oxford Studies of Composers) de Peter Holman

Peter Holman

en Limba Engleză Paperback – 14 dec 1994

In recent years Purcell's biography has received a good deal of attention, but there has been little writing on his music; indeed, this book provides the first general survey since Sir Jack Westrup's 1937 volume in the Master Musicians series. Furthermore, it is the first book to explore in detail the historical context of Purcell's music, dealing fully with the institutions he worked for, the origin and development of the various genres to which he contributed, and the sources of his music. In the process, a new picture of Purcell's creative personality emerges: a composer obsessed with formal counterpoint, extraordinarily well-versed in English music of the previous century, yet eager to embrace up-to-date features of the Italian style in the 1680s.

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Cuprins

Contents: Introduction; Part I Biography and Contexts: Only Purcell e're shall equal Blow, Bruce Wood; The Italian connection: Giovanni Battista Draghi and Henry Purcell, Peter Holman; Purcell's stage singers and Purcell's stage singers: a documentary list, Olive Baldwin and Thelma Wilson; 'He had the honour to be your master': Lady Rhoda Cavendish's music lessons with Henry Purcell, Michael Burden; Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, Bryan White. Part II Sources, Editing and Dissemination: Manuscript music in Purcell's London, Robert Thompson; Creating the corpus: the 'complete keyboard music' of Henry Purcell, Christopher Hogwood; The Fairy Queen: a fresh look at the issues, Bruce Wood and Andrew Pinnock; Newly discovered autograph keyboard music of Purcell and Draghi, Curtis Price; Purcell's Rejoice in the Lord, all ways, Lionel Pike; Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell's Come Ye Sons of Art, Rebecca Herissone. Part III Styles, Genres and Compositional Process: The technique and forms of Purcell's sonatas, Michael Tilmouth; Purcell's extended solo songs, Margaret Laurie; Purcell's Laudate Ceciliam: an essay in stylistic experimentation, Martin Adams; Purcell's revisions to the funeral sentences revisited, Robert Shay; Compositional choices in Henry Purcell's Three Parts Upon a Ground, Peter Holman; Composition as an act of performance: artifice and expression in Purcell's sacred partsong Since God So Tender a Regard, Alan Howard; 'Fowle originalls' and 'fayre writeing': reconsidering Purcell's compositional process, Rebecca Herissone. Part IV Performance, Performance Practice and Reception: The Shakespeare-Purcell Fairy Queen: a defence and recommendation, Roger Savage; Continuity and tempo in Purcell's vocal works, A. Margaret Laurie; The first performance of Purcell's Funeral Music for Queen Mary, Bruce Wood; 'Or rather our musical Shakespeare': Charles Burney's Purcell, Richard Luckett; Purcell debauch'd: the Dramatick Operas in performance, Michael Burden; Name Index.