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6 2 London Royal Academy of Music MS 3 The Fairy Queen sectionsentirely or partly copied by Purcell 236 6 3 Sources of Purcell copied by London E 242 6 4 Music by composers other than Purcell copied by London E 245 6 5 London British Library Additional MS 31452 original table of contents fol iiiv 250

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p u b l is h ed b y t h e p r e s s sy n dic a te of th e un iv er si ty o f ca mbr idg e. The Pitt Building Trumpington Street Cambridge United Kingdom. c am br id ge un iv er s i t y p re ss, The Edinburgh Building Cambridge CB2 2RU UK http www cup cam ac uk. 40 West 20th Street New York NY 1011 4211 USA http www cup org. 10 Stamford Road Oakleigh Melbourne 3166 Australia. Robert Shay and Robert Thompson 2000, This book is in copyright Subject to statutory exception and to the provisions of. relevant collective licensing agreements no reproduction of any part may take place. without the written permission of Cambridge University Press. First published 2000, Printed in the United Kingdom at the University Press Cambridge. Typeset in Garamond 11 5 15pt vn, A catalogue record for this book is available from the British Library. Library of Congress cataloguing in publication data. Shay Robert Stuart, Purcell manuscripts the principal musical sources Robert Shay and.
Robert Thompson,Includes bibliographical references p and indexes. ISBN 0 521 58094 3 hardback, 1 Purcell Henry 1659 1695 Manuscripts Catalogs 2 Music. Manuscripts Catalogs I Thompson Robert 1952 II Title. ML134 P95S53 2000,780 92 dc21 99 38030 CIP,ISBN 0 521 58094 3 hardback. list of illustrations page vii,list of tables ix,preface xiii. acknowledgements xv,bibliographical procedure xvi,list of abbreviations xvii.
a note on the tables xxii, 1 Introduction manuscript sources and Purcell s music 1. 2 Fitzwilliam Museum Music MS 88 and three principal. concordances 33, 3 British Library Additional MS 30930 and its repertories 84. 4 British Library Royal Music 20 h 8 and its repertories 126. 5 Performing materials from the London sacred,establishments and other sacred sources 177. 6 Music for the theatre 231,7 Vocal keyboard and instrumental music 260. appendices, Appendix 1 IdentiWed copyists and early owners 305.
Appendix 2 UnidentiWed copyists 316,bibliography 318. Index of manuscripts in tables 330,Index of rastral measurements 334. Index of works mentioned in the text 338,Index of manuscripts mentioned in the text 344. Index of names mentioned in the text 348, Index of watermark types and personal marks in paper. mentioned in the text 353,Illustrations, 1 1 Pelham Humfrey By the waters of Babylon copied by Purcell.
British Library Add MS 30932 fol 53v page 3, 1 2 IHS countermark with initials of Etienne Touzeau British Library. Add MS 30930 fol 29 i 11, 1 3 Angoumois Xeur de lys watermark British Library Add MS 30930. fol 29 ii 12, 1 4 Title page of Edward Cocker Arts Glory or The Pen Man s Treasurie. London 1657 25, 1 5 Henry Purcell My beloved spake c 1677 autograph British Library. Add MS 30932 fol 90v 27, 1 6 Henry Purcell From those serene and rapturous joys 1684.
autograph British Library R M 20 h 8 fol 182r 28, 1 7 Henry Purcell Who can from joy refrain 1695 autograph British. Library Add MS 30934 fol 88r 29, 2 1 John Blow O sing unto the Lord autograph British Library. Add MS 31458 fol 1r detail 38, 2 2 John Blow O sing unto the Lord autograph Fitzwilliam Museum. MU MS 88 fol 9v 38, 2 3 John Blow Sing we merrily partly autograph and partly copied by. Purcell Fitzwilliam Museum MU MS 88 fol 20r 45, 2 4 Henry Purcell Save me O God copied by William Isaack.
Fitzwilliam Museum MU MS 117 fol 111r 58, 2 5 Henry Purcell My beloved spake copied by William Isaack. Fitzwilliam Museum MU MS 117 fol 225r 63, 2 6 Henry Purcell O give thanks copied by John Gostling University. of Texas Austin Harry Ransom Humanities Research Center MS. Pre 1700 85 p 78 INV 74, 2 7 Henry Purcell Save me O God copied by London A Rochester. Eastman School of Music Sibley Music Library MS,M2040 A628 Folio p 25 82. 3 1 Henry Purcell Here Begineth ye 6 7 8 part Fantazia s. autograph British Library Add MS 30930 fol 48r 98, 3 2 Henry Purcell Plunged in the conWnes of despair autograph British.
Library Add MS 30930 fol 4r 102,Illustrations, 3 3 Henry Purcell Plunged in the conWnes of despair copied by John. Blow Christ Church Oxford Mus 628 p 42 103, 4 1 Henry Purcell Awake put on thy strength mostly copied by London. A British Library R M 20 h 8 fol 13v 132, 4 2 Henry Purcell Welcome vicegerent of the mighty king copied by John. Walter British Library Add MS 22100 fol 4r 171, 5 1 Henry Purcell Let God arise copied by William Tucker with. autograph alterations Westminster Abbey Triforium Set I alto. cantoris partbook fol 58v 200, 5 2 Henry Purcell Service in B copied by John Walter Christ Church.
Oxford Mus 38 p 25 214, 5 3 Henry Purcell Who hath believed our report autograph British. Library Add MS 30932 fol 94v 215, 5 4 John Blow organ part of God is our hope and strength copied by. Purcell Christ Church Oxford Mus 554 fol 3r 216, 5 5 Henry Purcell Funeral Sentences copied by Daniel Henstridge. University of California at Los Angeles William Andrews Clark. Memorial Library MS fC6966 M4 A627 1700 p 26 225, 6 1 Henry Purcell trio They shall be as happy from The Fairy Queen. copied by FQ1 Royal Academy of Music London MS 3 fol 104v 238. 6 2 Henry Purcell the First Music from The Fairy Queen partly. autograph and partly copied by FQ2 Royal Academy of Music. London MS 3 fol 3v 239, 6 3 Daniel Purcell a section of Song on her Royal Highness Birth Day.
1700 partly autograph and partly in the hand of London E British. Library Add MS 30934 fol 43r 246, 6 4 Henry Purcell the Frost Scene from King Arthur copied by FQ4. British Library Add MS 31447 fol 33r 248, 7 1 Henry Purcell jig in A minor autograph British Library MS Mus 1. fol 10r 278, 7 2 Henry Purcell jig in A minor possibly copied by Francis Forcer. Bodleian Library MS Mus Sch E 399 fol 8v 279, 7 3 Henry Purcell unique prelude to the keyboard suite in A minor. copied by the elder Richard Goodson Christ Church Oxford Mus. 1177 fol 24v INV 286, 7 4 Henry Purcell overture in G minor copied by John Reading British.
Library R M 20 h 9 fol 117v 297, Illustrations are reproduced by courtesy of the following copyright holders. 1 1 1 3 1 5 1 7 2 1 3 1 3 2 4 1 4 2 5 3 6 3 6 4 7 1 7 4 The British. Library 1 4 the Victoria and Albert Museum 2 2 2 5 the Syndics of the. Fitzwilliam Museum Cambridge 2 6 the University of Texas Austin 2 7 the. Eastman School of Music University of Rochester 3 3 5 2 5 4 7 3 the. Governing Body of Christ Church Oxford 5 1 the Dean and Chapter of. Westminster Abbey 5 5 the University of California Los Angeles 6 1 6 2 the. Royal Academy of Music London 7 2 the Bodleian Library Oxford. 2 1 Cambridge Fitzwilliam Museum Music MS 88 contents page 42. 2 2 Probable dates of Purcell s copying in Cambridge Fitzwilliam. Museum Music MS 88 44, 2 3 Cambridge Fitzwilliam Museum Music MS 117 contents 50. 2 4 Paper types collation and rastrology in Cambridge Fitzwilliam. Museum Music MS 117 56, 2 5 University of Texas at Austin Harry Ransom Humanities. Research Center MS Pre 1700 85 contents 67, 2 6 Paper types collation and rastrology in University of Texas at. Austin Harry Ransom Humanities Research Center MS Pre 1700. 2 7 Rochester Eastman School of Music Sibley Music Library MS. M2040 A628 Folio contents 79, 3 1 London British Library Additional MS 30930 vocal music.
Contents and concordances 85, 3 2 London British Library Additional MS 30930 instrumental. music other than sonatas Contents and concordances 86. 3 3 London British Library Additional MS 30930 sonatas Contents. and concordances 87, 3 4 London British Library Additional MS 30930 current and. possible original collation 90,3 5 Oxford Christ Church Mus 628 contents 101. 3 6 Oxford Bodleian Library MS Mus c 28 contents 105. 3 7 Purcell s sacred partsongs in London British Library Additional. MS 30930 and Oxford Bodleian Library MS Mus c 28 106. 3 8 New York Public Library Drexel MS 5061 contents 107. 3 9 London British Library Additional MS 33236 contents 110. 3 10 Related English sources of sonatas 111, 3 11 Oxford Bodleian Library MSS Mus Sch E 400 403 contents 116. 3 12 University of Chicago Joseph Regenstein Library MS 959. contents 120, 3 13 Chichester West Sussex Record OYce MS Cap VI I I contents 122.
4 1 London British Library Royal Music 20 h 8 contents 128. 4 2 London British Library Royal Music 20 h 8 incidence of. secretary and italic forms of the lowercase r in odes and welcome. 4 3 London British Library Royal Music 20 h 8 incidence of. secretary and italic forms of the lowercase r in anthems 133. 4 4 Manuscripts copied by London A 134, 4 5 London British Library Royal Music 20 h 8 solo songs and duets 138. 4 6 Primary manuscript sources of Purcell s symphony anthems 140. 4 7 Separate autograph scores of Purcell symphony anthems. Birmingham University Barber Institute MS 5001 Oxford. Bodleian Library MS Mus c 26 London British Library. Additional MSS 30931 and 30932 142, 4 8 London British Library Additional MS 50860 and Tokyo Nanki. Library MS N5 10 contents 146, 4 9 London British Library Additional MS 47845 collation of music. folios 148, 4 10 London British Library Additional MS 47845 contents 149. 4 11 London British Library Additional MS 17840 contents 152. 4 12 London British Library Additional MS 31445 contents 154. 4 13 London Royal College of Music MS 2011 contents 155. 4 14 London British Library Additional MS 33287 and Royal College. of Music MS 2011 rastrology 156, 4 15 Sources of the symphony version of My song shall be alway 156.
4 16 Oxford Bodleian Library MS Tenbury 1503 contents 159. 4 17 Primary manuscript sources of welcome songs and other odes 160. 4 18 Separate scores of individual odes 162, 4 19 London British Library Additional MS 30934 fols 80 93. conjectural collation 164, 4 20 London British Library Additional MS 33287 contents 166. 4 21 Primary manuscript sources of symphony songs 168. 4 22 London British Library Additional MS 22100 contents 170. 4 23 London British Library Additional MS 31447 contents 174. 5 1 Primary manuscript sources of Purcell s full and verse anthems 178. 5 2 London British Library Royal Music 27 a 1 contents 182. 5 3 Copying by William Tucker and Edward Braddock in the Chapel. Royal partbooks London British Library Royal Music 27 a 1 8 186. 5 4 London British Library Royal Music 27 a 7 contents 189. 5 5 Cambridge Fitzwilliam Museum Music MS 152 contents 191. 5 6 London Westminster Abbey MSS Triforium Set I contents 194. 5 7 Payments for music books and copying at Westminster Abbey. 1660 1700 197,5 8 Works by Purcell in York Minster MSS M1 S 205. 5 9 John Gostling s copies of works by Purcell in the St Paul s and. Tenbury partbooks 208, 5 10 Manchester Central Library BRm370Bp35 contents 210. 5 11 Separate autograph scores of service music full and verse anthems. including works by other composers 212, 5 12 Oxford Christ Church Mus 22 pp 1 131 contents 220.
5 13 University of California at Los Angeles William Andrews Clark. Memorial Library MS fC6966 M4 A627 1700 contents 222. 6 1 Oxford Bodleian Library MS Tenbury 1266 contents 233. 6 2 London Royal Academy of Music MS 3 The Fairy Queen. sections entirely or partly copied by Purcell 236,6 3 Sources of Purcell copied by London E 242. 6 4 Music by composers other than Purcell copied by London E 245. 6 5 London British Library Additional MS 31452 original table of. contents fol iiiv 250, 6 6 London British Library Additional MS 31452 contents 250. 6 7 London British Library Additional MS 5333 contents 251. 6 8 London Royal College of Music MS 2230 contents 252. 6 9 Cambridge Fitzwilliam Museum Music MS 119 contents 253. 6 10 London British Library Additional MS 31449 paper and. rastrology 254, 6 11 London British Library Additional MS 31453 fols 40 83 paper. and rastrology 256, 6 12 London British Library Additional MS 5337 fols 27 42 paper. and rastrology 256, 6 13 Oxford Bodleian Library MS Mus c 27 fols 33 6 paper and.
rastrology 256, 6 14 Cambridge Fitzwilliam Museum Music MS 683 and Oxford. Bodleian Library MS Tenbury 785 contents 258,7 1 The Court group of sources 261. 7 2 Brussels Koninklijk Conservatorium MS 1035 g contents 262. 7 3 London Guildhall Library MS Safe 3 Gresham autograph. songbook contents 264,7 4 The Oxford group of sources 267. 7 5 Birmingham University Barber Institute of Fine Arts MS 5002. contents 268, 7 6 Birmingham University Barber Institute of Fine Arts MS 5002. paper and rastrology 270,7 7 The southeastern group of sources 273.
7 8 Songs and catches by Purcell in sources of the southeastern group 274. 7 9 London British Library MS Mus 1 contents 280, 7 10 Oxford Christ Church Mus 1177 contents of reverse sequence 284. 7 11 Other primary manuscript sources of harpsichord music by Purcell 288. 7 12 Sources of Purcell s organ music 291, 7 13 New Haven Beinecke Rare Book and Manuscript Library Osborn. MS 515 music by Purcell 294, 7 14 London British Library R M 20 h 9 contents 296. 7 15 London Royal College of Music MS 1144 parts of theatre suites. by Purcell 299, 7 16 London Royal College of Music MS 1172 contents 300. Introduction manuscript sources and,Purcell s music.
P U R CELL MA NU S CR IP T S A LIF E IN M U SI C, Beyond the outline of his professional career and a few details of his private life little is. known about Henry Purcell 1 No surviving parish register records his baptism his. date of birth in 1659 being inferred from the ages given in the Xyleaf portrait of the. 1683 sonatas and on his memorial tablet in Westminster Abbey subsequent docu. mentary evidence tells us hardly more than that he was successful at his work married. in about 1680 had children and died prematurely at the age of thirty six 2 Against the. background of this biographical anonymity the man himself often emerges more. clearly from music manuscripts than from any other kind of material. The composer s parents are now thought to have been the elder Henry Purcell. d 1664 and his wife Elizabeth 3 though the younger Henry s uncle Thomas. undoubtedly played a major part in his upbringing and referred to him in a surviving. letter as my son 4 Both of the elder Purcells were musicians in Charles II s Restora. tion court 5 and young Henry must have shown enough natural ability to gain a. chorister s place in the Chapel Royal from which he was discharged when his voice. Biographical information can be found in Zimmerman Life Maureen DuVy Henry Purcell London. For details of Purcell s family life see DuVy Henry Purcell 63 and J L Chester The Marriage Baptismal. and Burial Registers of the Collegiate Church or Abbey of St Peter Westminster London 1876. Apart from biographies already cited see J A Westrup Purcell s Parentage MR 25 1964 100 3 and. Robert Thompson review of Margaret Campbell Henry Purcell Glory of his Age London 1993 in Chelys. 22 1993 49 50, In a letter to John Gostling dated 8 February 1679 preserved in the Nanki Library Tokyo reproduced in. Westrup Purcell between pp 80 and 81,RECM I 38 40 and passim. Purcell manuscripts the principal musical sources, broke in 1673 6 The customary sum of 30 a year for keeping him was paid to. Purcell in person rather than to the Master of the Children John Blow so he. probably lived at home while pursuing his musical studies at Whitehall until. Matthew Locke s death in 1677 made the court post of Composer for the Violins. available for him 7, A number of manuscripts in Purcell s hand date from before the end of 1677 all.
distinguished by a hook shaped bass clef broadly similar to that of Pelham Humfrey. who as Master of the Children from 1672 to 1674 was responsible for some of his. training The guardbook Lbl Add 30932 a miscellaneous collection of originally. unbound scores contains Humfrey s anthem By the waters of Babylon transcribed and. probably arranged by Purcell with the string symphony and ritornelli replaced by. somewhat inept passages for organ 8 in places Purcell uses a form of treble clef quite. diVerent from his characteristic pattern and this manuscript may be the earliest. surviving example of his copying Illus 1 1 Other autographs written in a relatively. awkward unformed style include a few bass parts bound in US NHb Osborn 515 not. unexpectedly showing that Purcell s Wrst attempts at instrumental composition were. inXuenced by Locke an anthem Who hath believed our report in Lbl Add 309329 see. Illus 5 3 and the incomplete score of the Funeral Sentences in Lbl Add 30931 10 This. last work may be connected with Humfrey s burial in 1674 for by the time of the next. major musical funeral that of Christopher Gibbons in 1676 Purcell s writing had. acquired many of its mature characteristics Slightly later autographs featuring the. reversed bass clef are the symphony anthem My beloved spake in Lbl Add 30932 Illus. 1 5 and an organ part of Blow s God is our hope and strength Och 554 fol 3 inscribed. on the reverse by the Chapel Royal organist Edward Lowe see Illus 5 4. Secondary sources such as the partbooks copied by William Tucker d 28. February 1679 for Westminster Abbey and the Chapel Royal11 conWrm that well. before 1680 Purcell had a number of works to his credit including at least three. symphony anthems composed for performance in the king s presence 12 Tucker never. credits John Blow with the doctorate conferred upon him on 10 December 1677 so. his copying was probably completed before that date Purcell s appointment as. Composer for the Violins appears to have been a nominal one to provide him with an. 6 7 8 9 10, Ibid 131 2 Ibid 173 Fols 52r 55v Fols 94r 98v Fols 81r 84v. Purcell works copied by Tucker are found in Lbl R M 27 a 1 8 Lbl Add 50860 Lwa Triforium Set I and. J Tn N5 10, See Christopher Hogwood Thomas Tudway s History of Music in Music in Eighteenth Century. England Essays in Honour of Charles Cudworth ed C Hogwood and Richard Luckett Cambridge. Introduction manuscript sources and Purcell s music. Illus 1 1 Pelham Humfrey By the waters of Babylon copied by Purcell British Library Add. MS 30932 fol 53v, income because hardly any of his movements for string band were composed in the. late 1670s the principal document of his work at this period the great autograph. scorebook Cfm 88 suggests that his Wrst major responsibility at court was the editing. and composition of Anglican sacred music in the distinctly conservative style that. provided the mainstay of the Chapel Royal repertory on weekdays and when the king. did not attend the Chapel in person 13 It is perhaps surprising that the youthful. composer of My beloved spake was apparently steered away from the prestigious. symphony anthem but until Purcell s twenty Wrst birthday his superiors in the royal. service seem to have subjected him to quite rigorous discipline at Wrst putting him to. work revising and correcting earlier music and only in 1680 allowing him to. RECM I 162 4,Purcell manuscripts the principal musical sources. contribute a court ode Welcome vicegerent of the mighty king The perception of. Purcell as a junior partner to John Blow and the late Pelham Humfrey is underlined. by the contents of Och 628 a presentation manuscript copied by Blow c 1678 in. which the older composers are mainly represented by symphony anthems written for. the court but Purcell by domestic sacred songs At about the same time working. initially on loose sheets Purcell began the collection of vocal and instrumental. chamber music bound together in 1680 to become the volume now Lbl Add 30930. this scorebook which contains revised versions of the sacred partsongs copied by. John Blow emphasises the seriousness of Purcell s study of counterpoint culmina. ting in 1680 in his anachronistic but musically fascinating series of fantazias 14. Though mentors such as Blow may well have encouraged Purcell to compose the. partsongs and sonatas his exploration of the outmoded fantazia form is more likely. to have arisen from his own interest inspired perhaps by some of the ancient vocal. music he edited in Cfm 88, The third of Purcell s great autograph scorebooks Lbl R M 20 h 8 which was.
started around the beginning of 1681 marks a new stage in the composer s career. Whether on account of the attainment of his majority or because of a perceived. development in his abilities from 1680 or 1681 onwards Purcell s professional. duties involved the composition of the most elaborate forms of court music the. symphony anthem the court ode and for more private occasions the symphony. song A new type of ode the Welcome Song to celebrate the king s return to. Whitehall after his summer progress appears to have been added to the established. New Year and birthday odes to exploit Purcell s abilities without disadvantaging. Blow and other senior composers 15 With Purcell s appointment in 1682 to Edward. Lowe s place as an organist of the Chapel Royal his status as a court musician. received Wnal conWrmation 16 and his works of the period 1681 5 mostly preserved. in his own hand in R M 20 h 8 reXect complete absorption in his occupation as a. servant of an absolutist but highly sophisticated court in which his art was evidently. appreciated Charles II s reputation as a lover of trivial and superWcial music is. belied by many of the works written for him by Humfrey Blow and Purcell and it. is interesting to speculate how Purcell s career might have developed had secure. Stuart rule lasted longer But Charles died in 1685 and although at Wrst his. See Robert Thompson The Sources of Purcell s Fantasias Chelys 25 1996 7 88 96. Regular annual performance of welcome songs took place only from 1680 to 1687 in which period all. were composed by Purcell See Rosamond McGuinness English Court Odes 1660 1820 Oxford 1971. Introduction manuscript sources and Purcell s music. Catholic brother James s accession was happily accepted by a nation eager for. stability17 Purcell s musical reaction suggests that he may have had some idea of. what lay ahead, James II s rationalisation of court musical appointments in which Purcell was. designated as harpsichordist in what was in eVect a modern baroque ensemble of. strings wind players and vocal soloists 18 cannot in itself have caused a real reduc. tion in Purcell s status and the Anglican Chapel Royal continued to function even. though the new monarch attended Catholic devotions 19 on 21 October 1687. Nicholas Staggins Master of the Music was reproached for failing to ensure that. string players attended and Purcell was named as one of the organists in the. sixteenth 1687 edition of Edward Chamberlain s Anglia Notitiae 20 But according. to a petition submitted by Purcell on 12 February 1688 the Chapel Royal organ was. by then so out of repair that to cleanse tune and put in good order will cost 40 21. and Lbl R M 20 h 8 reveals a change of attitude on Purcell s part after the death of. Charles II he failed to transcribe anthems he had already listed in the manuscript s. index and apart from the great coronation anthem My heart is inditing entered no. more sacred music in the scorebook even though a number of symphony anthems. were in fact composed during James II s reign Much of the secular music copied in. the scorebook from 1685 onwards is in the hands of assistants and few works for. informal occasions were added songs and ensembles already composed for the court. began to appear in print as if Purcell no longer regarded them as belonging to a. special repertory dedicated to the secular life of the court in the same way as the. symphony anthem was dedicated to the king s public worship at the Chapel Royal. Two retrospective collections started by the copyist London D around 1685 Lbl. Add 33287 and Lcm 2011 suggest that the death of Charles II was seen as a. watershed by at least some court musicians and the implication of Purcell s altered. approach to R M 20 h 8 is that security had given way to an uncertainty which can. only have grown worse as the political situation deteriorated until James was Wnally. ousted by William and Mary in 1688, Though Purcell continued to be employed by the new Protestant monarchs court. music was never again to be the vocation it had been under Charles II When in. England William III preferred to live away from Whitehall and the court ceased to. See J R Jones Country and Court London 1978 225 7, RECM II 2 3 Holman Four and Twenty Fiddlers 415 20. Holman Four and Twenty Fiddlers 411 RECM II 15 16 V 284 5. Lpro T27 11 p 314 See RECM VIII 275 6 and W A Shaw ed Calendar of Treasury Books. 1685 1689 III London 1923 1763 4,Purcell manuscripts the principal musical sources. be a self contained musical centre drawing instead upon the range of professional. expertise available in the commercial world of London music 22 It is unlikely to be a. coincidence that in 1689 Purcell undertook two ventures connected with education. the composition of the ode Celestial Music 23 performed at Lewis Maidwell s. progressive academy in Westminster 24 and a production of the opera Dido and. Aeneas possibly a revival of an earlier work at Josias Priest s school for young. gentlewomen in Chelsea 25 At around the same time Purcell began a close association. with the London theatres which lasted until his death involving the composition of. large numbers of songs incidental instrumental movements and extended musical. scenes as well as the four long dramatic operas Dioclesian 1690 King Arthur 1691. The Fairy Queen 1692 revived 1693 and The Indian Queen 1695 Source material. for these works is often problematic only the Fairy Queen score in Lam 3 containing. a few passages in Purcell s own hand Other late autographs similarly reXect a. practical function rather than the partly archival purpose of the great court score. books of earlier years the keyboard volume Lbl MS Mus 1 contains teaching. material and the Gresham songbook possibly related to Purcell s court employment. appears to be a repertoire collection for an accomplished soprano Lbl Add 30934. includes a score of Purcell s last court ode the birthday song for the Duke of. Gloucester Who can from joy refrain 26 and is clearly a composing draft the systematic. collection of court odes in a single fair copy manuscript had been Wnally abandoned. with the exile of James II and none of the Wne odes for the birthday of Queen Mary. survives in an autograph, Purcell s manuscripts provide considerable insight into his working methods and.
his thoughts about music 27 Composing drafts show numerous corrections and. Holman Henry Purcell 18 20, A partial autograph survives in Lbl R M 20 h 8 fols 125v 117r INV. In 1687 Maidwell established a boarding school in King Street Westminster oVering a comprehensive. curriculum including modern subjects such as mathematics and European languages as well as the. gentlemanly accomplishments of dancing fencing and horsemanship See F H W Sheppard ed. London County Council Survey of London XXXI London 1963 177 9. Josias Priest d 1734 was a leading dancer and choreographer from the mid 1670s onwards see S J. Cohen Theory and Practice of Theatrical Dancing Bulletin of the New York Public Library 63 1959. 541 54 reprinted in Ifan Kyrle Fletcher Selma Jean Cohen and Roger Lonsdale Famed for Dance Essays. on the Theory and Practice of Theatrical Dancing in England 1660 1740 New York 1960 22 33. Richard Semmens Dancing and Dance Music in Purcell s Operas in Performing the Music 180 96. Richard Ralph The Life and Works of John Weaver New York 1985 662 4 For Priest s school in. Chelsea see W H Godfrey London County Council Survey of London IV London 1913 45 and plates 1. Fols 80 93, See Rebecca Herissone Purcell s Revisions of his Own Works in Purcell Studies 51 86.

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