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Performing the Music of Henry Purcell by Michael Burden Pdf
This book, published to coincide with the tercentenary of Purcell's death, is the first to be devoted to the performance of his music. The contributors--all leading scholars and performers--deal with issues of performance practice relating both to playing the music and staging the operas.
The Ashgate Research Companion to Henry Purcell by Rebecca Herissone Pdf
The Ashgate Research Companion to Henry Purcell provides a comprehensive and authoritative review of current research into Purcell and the environment of Restoration music, with contributions from leading experts in the field. Seen from the perspective of modern, interdisciplinary approaches to scholarship, the companion allows the reader to develop a rounded view of the environment in which Purcell lived, the people with whom he worked, the social conditions that influenced his activities, and the ways in which the modern perception of him has been affected by reception of his music after his death. In this sense the contributions do not privilege the individual over the environment: rather, they use the modern reader's familiarity with Purcell's music as a gateway into the broader Restoration world. Topics include a reassessment of our understanding of Purcell's sources and the transmission of his music; new ways of approaching the study of his creative methods; performance practice; the multi-faceted theatre environment in which his work was focused in the last five years of his life; the importance of the political and social contexts of late seventeenth-century England; and the ways in which the performance history and reception of his music have influenced modern appreciation of the composer. The book will be essential reading for anyone studying the music and culture of the seventeenth century.
Henry Purcell has long been acknowledged as one of England's greatest composers. Little is known about his life beyond his official appointments and their duties, but as a musician he excelled as a servant of the Court, the Church and the theatre, writing odes, welcome songs, sonatas, anthems, service music and incidental music, and a series of operatic extravaganzas which fascinated the public during the 1690s. The Purcell Companion opens with four background chapters - by Andrew Pinnock, Jonathan Wainwright, Graham Dixon and Michael Burden - on his position in British musical history, on music in London during his lifetime, on his Italian connections and on his contemporaries. In the section on the music, Eric Van Tassel presents a new view of the church music, Bruce Wood re-assesses the odes, and Peter Holman writes perceptively about the instrumental music. On the theatre works, Edward Langhans considers their context, while Roger Savage studies the music for the operas and plays. Finally Andrew Parrott deals with aspects of performance, and the volume closes with a revision of Savage's classic essay on producing Purcell's ever-popular opera Dido and Aeneas. A bibliography details research undertaken on various aspects of Purcell's life and career.
Performance practice is the study of how music was performed over the centuries, both by its originators (the composers and performers who introduced the works) and, later, by revivalists. This first of its kind Dictionary offers entries on composers, musiciansperformers, technical terms, performance centers, musical instruments, and genres, all aimed at elucidating issues in performance practice. This A-Z guide will help students, scholars, and listeners understand how musical works were originally performed and subsequently changed over the centuries. Compiled by a leading scholar in the field, this work will serve as both a point-of-entry for beginners as well as a roadmap for advanced scholarship in the field.
Henry Purcell's Dido and Aeneas by Ellen T. Harris Pdf
Although widely regarded as the greatest operatic achievment of seventeenth-century England, Dido and Aeneas is surrounded by conflicting theories on it origin and chronology. In this thirtieth-anniversary edition of her groundbreaking book, Ellen T. Harris closely examines these theories and traces the performance history of the work, shedding light on the inherent mutability of this opera that continues to hold a fascination for audiences. -- Provided by publisher.
"Between these two extremes, the main body of the book deals largely with opera, from Wagner's 'Tristan' and 'Parsifal' to Harrison Birtwistle's 'Sir Gawain and the Green Knight'. Some works have never been performed, such as Hubert Parry's 'Guenever' and Rutland Boughton's Arthurian cycle, while others have only recently been staged or revived, such as Isaac Albeniz's 'Merlin' and Ernest Chausson's 'Le roi Artus', both striking post-Wagnerian works in very different styles - 'Merlin', for instance, beginning with a passage based on Gregorian chant. The range of music is wider than one might at first suspect."--BOOK JACKET.
The Great Musicians: Purcell by William Hayman Cummings Pdf
This book focuses on the life and works of the great English composer Henry Purcell. It includes information on Purcell's family and the organists of Westminster Abbey during his time, as well as chronological memoranda to provide context for his life and career. The book also provides a detailed and informative account of one of the most important figures in English music history.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Henry Purcell and the London Stage by C. A. Price Pdf
This book was the first comprehensive survey of Purcell's dramatic music. It is concerned as much with the London theatre world - playhouses, poets, actors, singers, producers - as with the music itself. Purcell wrote music for more than fifty plays of various types, most of them produced at the Theatre Royal, Drury Lane, between 1690 and 1695. The songs, dialogues, choruses, act tunes and larger musical scenes are often active participants in the spoken drama, not simply grafted-on entertainments. The extraordinary semi-operas - Dioclesian, King Arthur, and The Fairy-Queen - are placed in the context of a theatre that thrived mainly on plays that, though less lavish, were no less musical. The traditional picture of a composer trapped within a degraded musical society, his natural predilection for opera ignored, is redrawn to show a consummate dramatist exploiting a remarkably musical theatre.
The name and work of Henry Purcell are known to writers upon music, composers, and organists both in and out of England. This book, then, is intended for musical amateurs desirous of widening the range of their knowledge. We have not thought it fitting to isolate Purcell from his period and surroundings. The slight historical survey and the few remarks of a literary order that the reader will find in this book have as their object to throw the figure of the English musician into relief. - Preface.
