This book, the first general survey of Purcell's music in a generation, is published to coincide with the tercentenary of his death. 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 anddevelopment 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 embraceup-to-date features of the Italian style in the 1680s.
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Ashbee autograph Ayres bars Blow Blow's Cecilia Chapel Royal Charles chorus Christopher Gibbons church music composer consort music continuo contrapuntal copied counterpoint countertenor court odes Curtis Price dance declamatory Dido and Aeneas Dioclesian Draghi's duple-time early England fantasias flat major Four and Twenty four-part strings French G major G minor GB-Lbl genre Gibbons ground basses harmony Henry Purcell Holman Humfrey instruments Italian John keyboard king Locke Locke's London Lord manuscript masque Matthew Locke melodic minuet minuet-like movements musicians oboe opera organ organists overture Oxford passacaglia patterns Pelham Humfrey Pepys performed pieces Pinnock play Playford probably Purcell's RECM repertory Restoration ritornello Roger North SATB Scene score sections semi-opera sequence singers singing solo sonatas songs soprano style suites sung surviving symphony anthems theatre theorbo Thomas thou trumpet tuneful Twenty Fiddlers Twenty-four Violins verse anthems viol violins vocal voices Whitehall William writing written wrote Zimmerman