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First published in 1931, this book presents the text of Thomas Purcell's opera The Fairy Queen, which was performed in this form as an acted adaptation at the New Theatre, Cambridge from 10-14 February 1931. Purcell based his opera on A Midsummer Night's Dream and this version was altered to incorporate more dialogue from Shakespeare's play in place of changes made by an anonymous librettist in 1692. This book will be of value to anyone with an interest in Purcell and Shakespeare.
The Fairy Queen In Full Score by Henry Purcell Pdf
Based on Shakespeare's A Midsummer Night's Dream and reproduced from an early authoritative score, this work features all the fine qualities of this great English composer — wonderful invention, keen dramatic instinct, and lively characterizations.
The Fairy Queen, A Semi-Opera in Five Acts by Henry Purcell Pdf
"The Fairy Queen" was first performed in 1692, and was repeated in the following year. For the revival in 1693 Purcell added all the music of Act I., and the two songs, "Ye gentle spirits of the air" (No. 24) and "The Plaint" (No. 43). The Opera was adapted from Shakespeare's "A Midsummer Night's Dream," but Purcell did not set a single line of Shakespeare's play to music. The play was considerably curtailed, many lines altered, and some Scenes rearranged; in this mutilated version it was acted, not sung. At the end of each Act some pretext is found for introducing a musical entertainment which has little or nothing to do with the play. Purcell's music, composed towards the end of his short career, includes some of his best work, and shows strong Italian influence.
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.
The Fairy Queen, an Opera by Henry Purcell... with the Dialogue Taken from Shakespeare's "a Midsummer Night's Dream", in Place of the Alterations Made by the Anonymous Librettist of 1692. [Introduction by Dennis Arundell. - Cambridge, New Theatre, 10-14 February 1931.]. by William Shakespeare,Dennis Arundell,Henry Purcell Pdf
The Fairy Queen. An Opera by Henry Purcell. As Performed at the New Theatre, Cambridge ... With the Dialogue Taken from Shakespeare's "A Midsummer Night's Dream" in Place of the Alterations Made by the Anonymous Librettist of 1692. [The Text Only.]. by William Shakespeare Pdf
Using a mix of broad stylistic observation and detailed analysis, Adams distinguishes between late-seventeenth-century English style in general and Purcell's style in particular, and chronicles the changes in the composer's approach to the main genres in which he worked, especially the newly emerging ode and English opera. As a result, Adams reveals that although Purcell went through a marked stylistic development, encompassing an unusually wide range of surface changes, special elements of his style remained constant.
The tercentenary of Henry Purcell's death fell in 1995, and this 1995 volume of specially commissioned essays was collected to celebrate Purcell's music in his tercentenary year. The essays are representative of the best research and deal mainly with the autograph manuscripts, Purcell's compositional technique, the relationship between Purcell and his teacher John Blow, a reassessment of Purcell court odes, performance practice and wordsetting, and eighteenth-century reception history, particularly regarding King Arthur. The volume is well illustrated with music examples and photographs of important manuscripts. It also analyses Purcell's compositional techniques through detailed study of his manuscripts and reports on the discovery of two important autograph manuscripts. The book opens with an assessment of Purcell's illusive personality.
The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries by Charles E. Brewer Pdf
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.
