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Journal articles on the topic 'Henry Purcell'

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Published: 4 June 2021
Last updated: 27 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

PICKERING, OLIVER. "HENRY HALL OF HEREFORD AND HENRY PURCELL A POSTSCRIPT." Library 3, no. 2 (June 1, 2002): 194–98. http://dx.doi.org/10.1093/library/3.2.194.

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12

Bate, Philip, and Margaret Campbell. "Henry Purcell: Glory of His Age." Galpin Society Journal 47 (March 1994): 167. http://dx.doi.org/10.2307/842671.

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13

Milhous, Judith, and Michael Burden. "Performing the Music of Henry Purcell." Notes 54, no. 3 (March 1998): 688. http://dx.doi.org/10.2307/899900.

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14

Harris, Ellen T., and Curtis Price. "Henry Purcell and the London Stage." Notes 41, no. 4 (June 1985): 706. http://dx.doi.org/10.2307/940855.

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15

Holman, Peter, and Margaret Campbell. "Henry Purcell: Glory of His Age." Musical Times 134, no. 1806 (August 1993): 456. http://dx.doi.org/10.2307/1003023.

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16

Meng, Juguang. "TRUMPET IN THE ORCHESTRAL SCORE OF "ODE ON ST. CECILIA`S DAY" (1692) BY HENRY PURCELL." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 46–55. http://dx.doi.org/10.36340/2071-6818-2023-19-6-46-55.

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The subject of this research is the trumpet parts in Henry Purcell’s "Ode on St. Cecilia`s Day" (1692). The author analyses the role of the trumpet in the context of the general content of the work and its poetic symbolism. In this regard, the issue of using special compositional techniques, in particular sound visualisation and musical rhetoric, is analysed. In addition, questions of trumpet tonality semantics are considered. A large amount of background information on the history of the music holiday origin is provided in the article; opinions of scientists who put forward hypotheses about the fruitfulness of the English cultural soil for the rooting and development of such celebrations are given. The author mentions the names of outstanding trumpeters for whom trumpet parts were created, and whose art served as the foundation for the development of the trumpet style in England in the 17th-18th centuries. Along with the performers who made Purcell's art famous, information on fellow composers, Blow and Draghi, is provided; they also created musical offerings to St. Cecilia and undoubtedly influenced the style of young Purcell. The author believes that a new approach to this instrument’s capabilities and the presence of qualified performers broadened the area for the composer's fantasies and experiments. It was reflected not only in the creation of countless motifs based on fanfare and trumpet trill, expansion of the sound range and the use of “imperfect” harmonics of the natural scale but also made it possible to assign to the trumpet repertoire a certain intonation vocabulary, easily perceived, recognizable and freely used in vocal and various instrumental parts. The author comes to the conclusion that Purcell perceived the trumpet as an instrument with great virtuoso and cantilena potential; he used it in climactic moments, maintaining absolute balance with the winds and strings. With Purcell's work, the future of trumpet music became more distinct. Keywords: natural trumpet, Ode to St. Cecilia, English Baroque.
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17

Schmalfeldt, Janet. "In Search of Dido." Journal of Musicology 18, no. 4 (2001): 584–615. http://dx.doi.org/10.1525/jm.2001.18.4.584.

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As an introduction to ground-bass techniques, and as one of the great moments in operatic literature, Dido's Lament, from Henry Purcell's Dido and Aeneas, has long been a favored topic in academic courses on both the history and the analysis of Western tonal music. This essay approaches an analysis of the Lament from literary and recent historical perspectives. It returns to Virgil's Aeneid in search of the Dido who served as the starting point for so many subsequent characterizations of her, including Purcell's and his librettist Nahum Tate's. The analysis considers specifically musical means through which Purcell and Tate restore to Dido the nobility and greatness of spirit she manifests when we first meet her in Virgil's tale.
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18

Smith, Richard Langham, Ruth Holton, Rogers Covey-Crump, Charles Daniels, Simon Birchall, The Parley of Instruments, Roy Goodman, and Peter Holman. "'Odes on the Death of Henry Purcell'." Musical Times 134, no. 1804 (June 1993): 344. http://dx.doi.org/10.2307/1003068.

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19

Muralytė-Eriksonė, Giedrė. "Benjamin britten-henry purcell realizations: musical language correlation with original compositions." South Florida Journal of Development 3, no. 2 (April 19, 2022): 2749–56. http://dx.doi.org/10.46932/sfjdv3n2-092.

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English music and literature has deep traditions. In twentieth century the composers had the idea to refresh English music and literature, to show the beauty, freedom, and vividness of the English language. Benjamin Britten (1913–1976) was inspired by Henry Purcell‘s (1659–1695), the Baroque composers, musical language, which made use of texts in an expressive and free manner and was very modern in his living time. The identified patterns will be used to explain the linkages between the musical text in Britten’s realizations of several of Purcell’s, which were expressive and free, more like improvisations, filled with strong notes diatonically and chromatically. The paper will analyze the parallels between Britten’s realizations of Purcell’s songs Not all my Torments, Mad Bess, If Music Be the Food of Love (1rst and 3rd versions) from Orpheus Britannicus and the deep connection with original songs from vocal cycles by Britten Winter Words op. 52 and Sechs Hölderlin-Fragmente op. 61. Some interpretation ideas of the realization If music be the food of love (3rd version) from Orpheus Britannicus Seven Songs are also included.
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20

Duncan, Cheryll. "New Purcell Documents from the Court of King's Bench." Royal Musical Association Research Chronicle 47 (2016): 1–23. http://dx.doi.org/10.1080/14723808.2015.1129155.

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Two legal documents recently discovered among The National Archives at Kew in London provide new information about Henry Purcell's final years. The only known instances of the composer's involvement with the law, these rare archival finds shed light on his familial relations and financial circumstances at that point in his career when he was turning his attention to the London stage. The first case involves Purcell's sister-in-law Amy Howlett, who owed him £40; and the second concerns his unpaid bill at an exclusive West End retailer's. The new material confirms beyond doubt the identity of Purcell's in-laws, and shows that he was not just short of money in the 1690s, but that he was actually in debt at the time of his death. Other areas of enquiry include the élite social milieu in which the Purcells increasingly moved, and their possible place of residence in 1691–3. These aspects are discussed in relation to Purcell's enhanced public profile at that time, and within the wider context of the culture of consumption and credit in late seventeenth-century England. The two lawsuits are transcribed and translated in full, and their legal implications explicated.
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21

Porter, Stephen. "Henry Purcell and the Charterhouse. Composer in Residence." Musical Times 139, no. 1865 (1998): 14. http://dx.doi.org/10.2307/1003830.

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22

Graeme, R. "King Arthur, or The British Worthy. Henry Purcell." Opera Quarterly 12, no. 4 (January 1, 1996): 118–20. http://dx.doi.org/10.1093/oq/12.4.118.

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23

CHARTERIS, RICHARD. "NEWLY DISCOVERED SOURCES OF MUSIC BY HENRY PURCELL." Music and Letters 75, no. 1 (1994): 16–32. http://dx.doi.org/10.1093/ml/75.1.16.

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24

BURDEN, M. "'LADY RHODA CAVENDISH'S MUSIC LESSONS WITH HENRY PURCELL'." Music and Letters 77, no. 3 (August 1, 1996): 492. http://dx.doi.org/10.1093/ml/77.3.492-a.

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25

Schab, A. "Henry Purcell, Symphony Songs. Ed. by Bruce Wood." Music and Letters 92, no. 3 (July 21, 2011): 475–77. http://dx.doi.org/10.1093/ml/gcr050.

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26

Simon, Laurent. "Sources bibliques dans l’oeuvre vocale religieuse de Henry Purcell." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 64, no. 1 (2007): 161–76. http://dx.doi.org/10.3406/xvii.2007.2339.

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27

Newsholme, David. "The Works of Henry Purcell, Volume 27: Symphony Songs." Musicology Australia 30, no. 1 (January 2008): 103–6. http://dx.doi.org/10.1080/08145857.2008.10416742.

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28

Adams, M. "Henry Purcell, Three Occasional Odes. Ed. by Bruce Wood." Music and Letters 92, no. 2 (May 1, 2011): 280–82. http://dx.doi.org/10.1093/ml/gcr019.

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29

Shay, Robert. "Henry Purcell ed. by Margaret Laurie and Bruce Wood." Notes 74, no. 2 (2017): 300–303. http://dx.doi.org/10.1353/not.2017.0127.

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30

Price, Curtis. "Newly Discovered Autograph Keyboard Music of Purcell and Draghi." Journal of the Royal Musical Association 120, no. 1 (1995): 77–111. http://dx.doi.org/10.1080/02690403.1995.11828225.

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A manuscript of late seventeenth-century English harpsichord music was sold to an anonymous private collector at Sotheby's in London on 26 May 1994 for £276,500, a record price paid for any British music manuscript. The 85-page oblong quarto, in its original covers, includes 21 pieces in the hand of Henry Purcell (1659–95), five of which were previously unknown, and a further 17 works by Giovanni Battista Draghi (c.1640–1708), also probably autograph, four of which were previously unknown. The manuscript is important because of the rarity of Purcell autographs: this is the first to be sold at public auction since the great collection of fantazias and sonatas (now British Library, Add. MS 30,930) was offered in 1826, and the only major source to surface this century.
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31

Dirksen, Pieter. "Zur Frage des Autors der A-Dur-Toccata BWV Anh. 178." Bach-Jahrbuch 84 (March 8, 2018): 121–36. http://dx.doi.org/10.13141/bjb.v19981658.

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Zu den bedeutendsten Werken, die im Anhang des Bach-Werke-Verzeichnis aufgeführt werden, zählt die Toccata A-Dur 178. Die Autorschaft Johann Sebastian Bachs wurde jedoch häufig in Zweifel gezogen, und das Stück wurde unter anderem mit Michelangelo Rossi, Robert King und Henry Purcell in Verbindung gebracht. Quellenkundliche und stilistische Überlegungen zeigen jedoch, dass das Stück mutmaßlich von Johann Adam Reincken stammt. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
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32

Alonso, Zoa. "Choreographic versions of Purcell's "Dido & Aeneas": Mark Morris and Sasha Waltz." Collectanea Philologica 15 (January 1, 2012): 64–77. http://dx.doi.org/10.18778/1733-0319.15.06.

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En este artículo se lleva a cabo una revisión del mito de Dido y Eneas en el ámbito coreográfico y se estudia la importancia que ha tenido la partitura de Henry Purcell (ca. 1688) entre bailarines y coreógrafos de la danza contemporánea. Las versiones de Mark Morris (1989) y Sasha Waltz (2005) constituyen, en concreto, dos ejemplos ideales para percibir ciertos matices en su relación con el mito virgiliano a partir de unos intereses bien diferenciados.
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33

Woolley, Andrew. "The Sonatas of Henry Purcell: Rhetoric and Reversal. By Alon Schab." Music and Letters 100, no. 1 (February 1, 2019): 136–38. http://dx.doi.org/10.1093/ml/gcz009.

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34

Roberts, Joel. "The Sonatas of Henry Purcell: Rhetoric and Reversal by Alon Schab." Notes 76, no. 4 (2020): 581–83. http://dx.doi.org/10.1353/not.2020.0039.

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35

Adams, Martin. "The Ashgate Research Companion to Henry Purcell by Rebecca Herissone, ed." Restoration: Studies in English Literary Culture, 1660-1700 38, no. 1 (2014): 83–86. http://dx.doi.org/10.1353/rst.2014.0001.

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36

Guinle, Francis. "Review: Record: William Lowes and Henry Purcell, Private Musick, Fantasies and Sonatas." Cahiers Élisabéthains: A Journal of English Renaissance Studies 32, no. 1 (October 1987): 136. http://dx.doi.org/10.1177/018476788703200139.

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37

White, B. "'Brothers of the String': Henry Purcell and the Letter-Books of Rowland Sherman." Music and Letters 92, no. 4 (November 1, 2011): 519–81. http://dx.doi.org/10.1093/ml/gcr116.

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38

Holman, Peter. "A New Source of Restoration Keyboard Music." Royal Musical Association Research Chronicle 20 (1987): 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.
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39

Cable, Jennifer. "Gods! I can never this endure: madness made manifest in the songs of Henry Purcell (16591695) and Henry Carey (16891743)." Studies in Musical Theatre 4, no. 1 (August 1, 2010): 15–26. http://dx.doi.org/10.1386/smt.4.1.15_1.

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40

Wood, B. "Henry Purcell, The Complete Anthems and Services--1, The Complete Anthems and Services--2." Early Music XX, no. 4 (November 1, 1992): 693–94. http://dx.doi.org/10.1093/em/xx.4.693.

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41

WINKLER, AMANDA EUBANKS. "Enthusiasm and Its Discontents: Religion, Prophecy, and Madness in the Music for Sophonisba and The Island Princess." Journal of Musicology 23, no. 2 (2006): 307–30. http://dx.doi.org/10.1525/jm.2006.23.2.307.

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ABSTRACT Enthusiasm, a state in which the soul is supposedly freed from the body and the human vessel is filled with the divine, troubled the religious mainstream in 17th-century England. During the English Civil War, radical Protestant sects used enthusiastic prophecy to justify rebellion against monarchical tyranny. Such practices drew fire from members of the Church of England who vilified the prophets' ““religious enthusiasm”” by associating it with madness and melancholy. This strategy pathologized enthusiasm, transforming it into a mental disorder. Anti-enthusiastic discourses shaped musical and dramatic practices on the Restoration stage, as witnessed in two songs for enthusiastic prophets, Cumana in Nathaniel Lee's Sophonisba (music by Henry Purcell for a 1690s revival) and the elderly Brahmin priest in Peter Motteux's revision of The Island Princess (music by Richard Leveridge, 1699). Purcell's song for Cumana, ““Beneath a Poplar's Shadow,”” incorporates the standard conventions of musical madness and is even called a ““mad song”” in Orpheus Britannicus, Book Two (1702). Similarly, the Brahmin priest channels the speech of the false pagan gods in Leveridge's ““Enthusiastick Song””——a piece that parallels contemporary political discourses about the ““madness”” of religious nonconformity and fanaticism. A close reading of the music, dramatic texts, and contemporary political, religious, and medical discourses demonstrates how musical representations of enthusiasm were affected by the critical rhetoric of religious orthodoxy.
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42

Harty, Kevin J. "King Arthur, or The British Worthy; A Dramatick Opera in Five Acts by Henry Purcell." Arthuriana 16, no. 2 (2006): 108. http://dx.doi.org/10.1353/art.2006.0067.

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43

Duncan, Cheryll. "Henry Purcell and the construction of identity: iconography, heraldry and theSonnata’s of III Parts(1683)." Early Music 44, no. 2 (May 2016): 271–88. http://dx.doi.org/10.1093/em/caw031.

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44

Gastaminza, Pablo. "EL CARDENAL MAZARINO Y LA DANCE GUITTARS CHACONY EN DIDO Y ENEAS DE H. PURCELL. ¿LA CONEXIÓN IMPOSIBLE?" Quodlibet. Revista de Especialización Musical, no. 79 (November 7, 2023): 39–56. http://dx.doi.org/10.37536/quodlibet.2023.79.2262.

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Con frecuencia se estudia la Historia de la Música del periodo Barroco aislándola de la política, de los matrimonios de estado, de las guerras dinásticas, de la religión… En un mundo globalizado, como el de hoy, los devenires culturales-musicales de composición, interpretación y difusión son totalmente diferentes a la problemática de estos mismos factores en el siglo XVII. En este artículo planteamos una hipótesis que relaciona causa-efecto las decisiones del Cardenal Mazarino con una de las grandes obras inglesas, Dido y Eneas de Henry Purcell, y especialmente en un aspecto muy concreto; su Dance Gittars Chacony. A lo largo de este viaje hay varios protagonistas en mayor o menor medida además de los ya mencionados; Luis XIV, Carlos II de Inglaterra, Francisco Corbetta y Oliver Cromwell. Veremos al final si la conexión es tan imposible.
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45

BURDEN, MICHAEL. "‘HE HAD THE HONOUR TO BE YOUR MASTER’: LADY RHODA CAVENDISH'S MUSIC LESSONS WITH HENRY PURCELL." Music and Letters 76, no. 4 (1995): 532–39. http://dx.doi.org/10.1093/ml/76.4.532.

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46

Núñez Ronchi, Ana. "América en Europa: diferenciaciones discursivas y axiológicas del descubrimiento y la conquista en la ópera "The Indian Queen" (1695) de Henry Purcell." Rilce. Revista de Filología Hispánica 28, no. 2 (September 29, 2015): 508–33. http://dx.doi.org/10.15581/008.28.2925.

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La semiópera The Indian Queen (1695) de Henry Purcell constituye un elemento sobresaliente de la diferenciación discursiva y axiológica que suscitó en Europa el Descubrimiento de América. Apoyándose en la teoría y el método de la semántica interpretativa, este trabajo trata de mostrar la novedad y la posterior continuidad temática que, en las letras y dentro del panorama musical europeo, supusieron esta pieza musical y la obra teatral homónima (1664) de Howardy Dryden que inspiró el libreto de la pieza musical; en las letras españolas, por el contrario, los discursos de tema indiano se diversificaban, pero alcanzando sólo incidentalmente al discurso operístico. Desde el punto de vista dialógico, y contrariamente a las crónicas de la conquista retenidas para este trabajo, las piezas operística y teatral otorgan un privilegio absoluto al universo de interlocución de los personajes indígenas a la vez que los re-evalúan positivamente.
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47

Schwartz, Selby Wynn. "Bad Language: Transpositions in Mark Morris's Dido and Aeneas." Dance Research Journal 44, no. 2 (2012): 71–94. http://dx.doi.org/10.1017/s0149767712000113.

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In the middle of Mark Morris's ballet Dido and Aeneas, set to the Henry Purcell opera of the same title, a female dancer mimes the story of the Greek goddess Diana and her unfortunate suitor, Actaeon. While hunting in the mountains, Actaeon catches sight of Diana bathing nude, and the fiercely chaste goddess transforms him into a stag; his own well-trained hounds, baying triumphantly, turn on their master. When the word “mountain” is sung, the dancer marks out two jagged peaks over her head with one hand. When the hunter Actaeon is mentioned by name, the dancer mimes a bow being arched and an arrow shot from it. Then, as the line “here, here, Actaeon met his fate,” is being sung, the dancer points one finger down at a spot on the ground, nodding emphatically. It was here, she is saying—right here, where I am pointing, see?
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48

WELCH, ANTHONY. "The cultural politics of Dido and Aeneas." Cambridge Opera Journal 21, no. 1 (March 2009): 1–26. http://dx.doi.org/10.1017/s0954586709990012.

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AbstractControversial efforts to find political allegory in Dido and Aeneas (c.1689), the great chamber opera by Nahum Tate and Henry Purcell, have obscured the opera's broader concern with the politics of culture. As rival political factions claimed ownership of the nation's cultural heritage, Tate and other dramatists in Restoration England asked searching questions about the relationship between the artist and political authority. Grappling with Virgil's Aeneid, a central text of Stuart absolutism, Dido and Aeneas explores the workings and the costs of partisan myth-making. The opera joins many other Restoration voices in taking up an ancient ‘chaste Dido’ tradition, which accused Virgil of mangling Dido's historical reputation in the service of imperial propaganda. Yet Dido does not set forth a topical allegory or a coherent critique of Stuart misrule, but takes an unstable, irresolute attitude towards the cultural legacy of Virgil, the aesthetics of female suffering, and the politics of royal praise.
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49

Lesovichenko, Andrey. "B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan." Musical Art and Education 7, no. 4 (December 30, 2019): 65–81. http://dx.doi.org/10.31862/2309-1428-2019-7-4-65-81.

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The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segments emanating from the theme borrowed from Henry Purcell, in which the initial idea of the master of the XVII century is deeply rethought. The pedagogical task is connected with the demonstration of the timbres of all instruments in solo, ensemble, orchestral sounds, expressing different semantic facets of the original theme, transformed in the process of development into its own antipode. B. Britten found an organic solution to the problems. The article outlines the options for the use of this work in music lessons in secondary school and in the system of additional musical education in the study of instruments of the Symphony orchestra. For this purpose, the comparative characteristics of the performance of the “Guide” by major conductors of different generations are involved, including the interpretation of the composition by the author of the music, which can be assessed a reference. The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.
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50

Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.

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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
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