Henry Purcell's "Dido and Aeneas":
Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores,...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2018]
|
| Ausgabe: | Second edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xvii, 238 Seiten Notenbeispiele |
| ISBN: | 9780190271664 9780190271671 |
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| 520 | |a Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin. | ||
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Datensatz im Suchindex
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Contents
List of Plates xvii
PART ONE I BACKGROUND TO THE MUSIC
Introduction i
1. Synopsis: Literary and Textual Antecedents 3
2. Premiere: Place, Date, and Meaning 30
PART TWO | THE MUSIC
Introduction 53
3. The Tenbury Manuscript: Discrepancies and Omissions 59
4. Musical and Dramatic Structure 82,
5. Musical Declamation 98
6. Ground Bass Techniques 113
PART THREE | PERFORMANCE HISTORY
Introduction 141
7. The Late Eighteenth Century: Revival and Adaptation 143
8. The Nineteenth and Early Twentieth Centuries: Scholarly
Editions and Added Accompaniments 16 j
9. Twentieth- and Twenty-First— Century Interpretations:
The Early Music Movement and Postmodernism 186
BIBLIOGRAPHY 213
INDEX 225
GENERAL INDEX 228
XV |
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| author | Harris, Ellen T. 1945- |
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| discipline | Musikwissenschaft |
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| spelling | Harris, Ellen T. 1945- Verfasser (DE-588)1041847971 aut Henry Purcell's "Dido and Aeneas" Ellen T. Harris Second edition New York, NY Oxford University Press [2018] © 2018 xvii, 238 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin. Purcell, Henry 1659-1695 Aeneas (Legendary character) Drama History and criticism Purcell, Henry 1659-1695 Dido and Aeneas (DE-588)300122802 gnd rswk-swf Purcell, Henry 1659-1695 (DE-588)118742973 gnd rswk-swf Dido (Legendary character) Drama History and criticism Rezeption (DE-588)4049716-1 gnd rswk-swf Carthage (Extinct city) Drama History and criticism Purcell, Henry 1659-1695 Dido and Aeneas (DE-588)300122802 u Rezeption (DE-588)4049716-1 s DE-604 Purcell, Henry 1659-1695 (DE-588)118742973 p 1\p DE-604 Erscheint auch als Online-Ausgabe 978-0-19-027169-5 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030112732&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
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| title | Henry Purcell's "Dido and Aeneas" |
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| title_full | Henry Purcell's "Dido and Aeneas" Ellen T. Harris |
| title_fullStr | Henry Purcell's "Dido and Aeneas" Ellen T. Harris |
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