Relevant bibliographies by topics / Henry Purcell

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Academic literature on the topic 'Henry Purcell'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Henry Purcell"

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Radice, Mark A., Peter Holman, Michael Burden, and Curtis Price. "Henry Purcell." Notes 53, no. 3 (March 1997): 791. http://dx.doi.org/10.2307/899732.

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Price, Curtis. "Henry Purcell." Early Music XVIII, no. 3 (1990): 493–96. http://dx.doi.org/10.1093/earlyj/xviii.3.493.

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Wood, Bruce. "Henry Purcell." Early Music XVIII, no. 3 (1990): 496–502. http://dx.doi.org/10.1093/earlyj/xviii.3.496.

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Thompson, Robert. "HENRY PURCELL 1659–1695." Court Historian 4, no. 1 (April 1999): 41–47. http://dx.doi.org/10.1179/cou.1999.4.1.003.

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Schab, Alon. "Purcell performances in Palestine under the British Mandate." Early Music 47, no. 4 (November 2019): 533–50. http://dx.doi.org/10.1093/em/caz076.

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Abstract Palestine, from the end of World War I to the foundation of the state of Israel, had a vibrant concert scene led partly by local musicians (and from 1933 onwards, by an elite of leading performers and composers who fled from Europe), and partly by the cultural institutions of the British Mandate, including the Palestine Broadcasting Service. While the collaborations between these two forces often yielded inspired musical results, each had its own agendas and priorities. The music of Henry Purcell was perceived as a cultural asset of the British and, as such, its performance became the platform for tacit negotiation of local musical identity, as well as a means to communicate with the British administration. The present study examines how Purcell’s music was treated in Palestine, which works by Purcell were performed, which scores and editions were available to local musicians, how the 250th anniversary of his death (1945) was commemorated, what motivated musicians to perform Purcell in concert, and what happened to the performance of Purcell’s music in Israel after Britain withdrew its forces from Palestine in 1948.
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Graeme, R. "Dido and Aeneas. Henry Purcell." Opera Quarterly 16, no. 3 (January 1, 2000): 496–99. http://dx.doi.org/10.1093/oq/16.3.496.

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Graeme, R. "Dido and Aeneas. Henry Purcell." Opera Quarterly 18, no. 3 (July 1, 2002): 421–24. http://dx.doi.org/10.1093/oq/18.3.421.

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Harris, Dale. "Dido and Aeneas. Henry Purcell." Opera Quarterly 4, no. 4 (1986): 78–84. http://dx.doi.org/10.1093/oq/4.4.78.

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Pines, Roger. "The Fairy Queen. Henry Purcell." Opera Quarterly 9, no. 1 (1992): 176–79. http://dx.doi.org/10.1093/oq/9.1.176.

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PICKERING, OLIVER. "Henry Hall of Hereford's Poetical Tributes to Henry Purcell." Library s6-16, no. 1 (March 1, 1994): 18–29. http://dx.doi.org/10.1093/library/s6-16.1.18.

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Dissertations / Theses on the topic "Henry Purcell"

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Kim, Hae-Jeong. "The Keyboard Suites of Matthew Locke and Henry Purcell." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501040/.

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This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.
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Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.

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Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformateurs en matière d’intelligibilité du texte et l’esthétique de la contre-réforme
The development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics
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Grant, Wendy Lyn. "The court Odes of Henry Purcell, an evaluation of his style from 1680-1695." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0028/NQ36640.pdf.

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Holland, Elizabeth Jane Violet. "Purcell and the seventeenth-century voice : an investigation of singers and voice types in Henry Purcell's vocal music." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/5988/.

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This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenth century. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addresses the issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. Chapter Two discusses the bass voice, in particular the influence of individual singers in creating voice-type subdivisions, and the dramatic and musical stereotyping of this voice type in Purcell's works. The third chapter takes as its subject Purcell's sopranos and trebles, focussing in detail on the individual singers in his works for the London stage, their vocal characteristics, dramatic stereotyping, and musical influence on the composer. Chapter Four uses the characteristics of each voice type identified in previous chapters to reassign the 'lost" voice types of Purcell's chamber songs and, in conjunction with research into actresses, literature and theatrical convention of the period, provides a first performance voice-type cast list for the opera Dido and Aeneas, as well as offering insight into the possible individuals for whom the work may have been intended. Finally, all the above information gathered is combined with knowledge of seventeenth-century singing techniques gleaned from contemporary sources and the work of modem day scholars to offer advice on the modem performance of Purcell's vocal works in a 'historically- informed' manner.
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Espinosa, Ricardo Javier. "An analysis and discussion of conducting performance practices in Steven Stucky's elaboration of Henry Purcell's Funeral music for Queen Mary (1992)." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930322951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.
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Luczak, Jessica. "A survey of tragic love in vocal repertoire for the lyric soprano." Kansas State University, 2013. http://hdl.handle.net/2097/15676.

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Master of Music
Department of Music
Patricia Thompson
This report contains biographical, historical, and analytical commentary on the following composers and their pieces for soprano voice: Henry Purcell and The Blessed Virgin's Expostulation; Franz Schubert and Gesänge aus Wilhelm Meister, Op. 62, D. 877; Jacques Offenbach and Les oiseaux dans la charmille, from Les Contes d'Hoffmann; Libby Larsen and Try Me, Good King: Last Words of the Wives of Henry VIII; Charles Gounod and Ah! Je veux vivre, from Roméo et Juliette. These selections, unified by the theme of tragedy in various forms of love, were presented in a graduate recital in partial fulfillment of the requirements for the Master of Music in Vocal Performance and Pedagogy degree.
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Muller, Julia Purcell Henry Betterton Thomas. "Producing the prophetess, or, The history of Dioclesian academisch proefschrift ... /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/25762832.html.

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Thesis--Vrije Universiteit te Amsterdam, 1989.
Contains the libretto by Thomas Betterton for Purcell's opera adapted from John Fletcher's play. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Labelle, Paul. "A Theatre of Catches – Dialogue, Theatre and Ritual in the Restoration Catch." 2020. https://slub.qucosa.de/id/qucosa%3A73213.

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Chelf, Linda Carol. "The restoration anthems of Henry Purcell and their political implications during the reign of Charles II (England)." Thesis, 1989. http://hdl.handle.net/1911/13350.

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Although the English anthem was the primary form of sacred composition in England during the Renaissance and early Baroque, it was not considered too sacred to be used as royalist propaganda. Text sources for the anthem came primarily from the Psalms, the Book of Common Prayer, and Scripture. Because many of the anthem composers were Gentlemen of the Chapel Royal, which was supported by the monarchy, the anthems sometimes reflected royalist views. Henry Purcell began writing anthems during the public hysteria generated by the Popish Plot, war with the Dutch, and fear of the French and the papacy. Although direct connections between specific events and specific anthems are speculative, there can be little doubt that the upheavals faced by the English monarchy influenced Purcell's compositions. Fourteen of Purcell's anthems written between 1678 and 1685 are discussed according to their political implications. Musical analysis of four representative anthems is provided.
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Books on the topic "Henry Purcell"

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Fabris, Dinko. Henry Purcell. Palermo: L'epos, 1999.

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Henry Purcell. London: Fourth Estate, 1995.

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Henry Purcell. New York: Thames and Hudson, 1994.

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Hermann, Claude. Henry Purcell. [Arles]: Actes sud, 2009.

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1945-, Price Curtis Alexander, ed. Purcell studies. Cambridge [England]: Cambridge University Press, 1995.

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1960-, Burden Michael, ed. Purcell remembered. Portland, Or: Amadeus, 1995.

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Henry Purcell in Japan: Poems. New York: Knopf, 1985.

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Keates, Jonathan. Purcell: A biography. London: Chatto & Windus, 1995.

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Keates, Jonathan. Purcell: A biography. Boston: Northeastern University Press, 1996.

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Margaret, Campbell. Henry Purcell: Glory of his age. London: Hutchinson, 1993.

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Book chapters on the topic "Henry Purcell"

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Klassen, Janina. "Purcell, Henry." In Metzler Komponisten Lexikon, 606–10. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_235.

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Klassen, Janina. "Purcell, Henry." In Komponisten Lexikon, 477–81. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_239.

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Altmeyer, Thomas. "Henry Purcell." In Barockmusikführer, 344–49. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_88.

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Klassen, Janina. "Purcell, Henry." In Komponisten, 198–202. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_37.

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"Henry Purcell." In The Poetical Works of Gerard Manley Hopkins. Oxford University Press, 1990. http://dx.doi.org/10.1093/oseo/instance.00228636.

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"HENRY PURCELL." In The Opera Lover’s Companion, 352–54. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-050.

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Spink, Ian. "Henry Purcell." In Restoration Cathedral Music 1660-1714, 146–68. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161493.003.0008.

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Abstract Purcell’s church music amounts to three services, sixty-five anthems, and a set of funeral sentences.1 Though some were written for Westminster Abbey, and others--probably the majority- -for the Chapel Royal, his output will be considered more or less chronologically, irrespective of function and place except in so far as these are inherent in the chronological sequence.
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Holman, Peter. "Church Music." In Henry Purcell, 102–43. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198163404.003.0004.

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Abstract WHEN Charles II returned to claim his kingdom in 1660 there had been little but simple psalm singing in England’s churches for eighteen years. In 1642 Parliament had ordered such part of the Common Prayer and service as is performed by singing men, choristers, and organs’ to be wholly forborn and omitted’; services were to be done in a reverent, humble and decent manner with out singing or using the organs’, and in 1644 an ordinance was issued for the speedy demolishing of all organs, images and all matters of superstitious monuments in all Cathedralls, and Collegiate or Parish-Churches and Chapels, throughout the Kingdom of England and the Dominion of Wales’. Most organs were destroyed or dismantled, and church musicians were forced to fend for themselves. A generation grew up in the 1640s and 1650s that knew nothing of the great repertory of cathedral music. Samuel Pepys (b. 1633) wrote on 8 July 1660 that he had heard very good Musique’ at Whitehall, the first time that I remember ever to have heard the Organs and singing-men in Surplices in my life’; on 4 November he wrote after a visit to Westminster Abbey that it was the first time that I ever heard the organs in a Cathedrall’.
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Holman, Peter. "Theatre Music." In Henry Purcell, 188–227. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198163404.003.0006.

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Abstract ONE of Charles H’s first acts on his return to London was to authorize the reopening of the theatres, closed since the beginning of the Civil War in 1642. On 21 August 1660 Thomas Killigrew and Sir William Davenant, the leading survivors of the pre-war London theatre, were granted a patent allowing them to form two companies under the patronage of the king and the Duke of York. This was something new. There had been companies under court patronage in Elizabethan and Jacobean times, and Charles I granted Davenant a patent to build a theatre in 1639, a project never realized. But from 1660 the two companies enjoyed a monopoly of theatrical activity in London (it persisted until the nineteenth century, despite many vicissitudes and attempts to circumvent it), and they were supported by the king, who took an interest in their affairs, and regularly patronized them in person. His father, by contrast, had never set foot in a commercial play house.
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Holman, Peter. "Domestic Vocal Music." In Henry Purcell, 23–59. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198163404.003.0002.

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Abstract HENRY PURCELL has always been particularly admired as a song composer. Henry Playford wrote in the preface of Orpheus Britannicus, i (1698) that The Author’s extraordinary Talent in all sorts of Musick is sufficiently known, but he was especially admir’d for the Vocal, having a peculiar Genius to express the energy of English Words, whereby he mov’d the Passions of all his Auditors.’ In a poem printed a few pages later Henry Hall, fellow choirboy in the Chapel Royal and organist at Hereford, wrote that his friend ‘ach Syllable first weigh’d, or short, orlong, I That it might too be Sense, as well as Song.’ Playford described Orpheus Britannicus on the title-page as A I COLLECTION I OF ALL I The Choicest SONGS I FOR I One, Two, and Three Voices, I COMPos’n I By Mr. Henry Purcell’, and the publisher rightly claimed in the second edition (1706; repr. 1721) that it excelled any Collection of Vocal Music yet Extant in the English Tongue, and may Vie with the best Italian Compositions’.
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