A mangled chime: the accidental death of the opera libretto in Civil War England
Identifieur interne : 000150 ( Istex/Corpus ); précédent : 000149; suivant : 000151A mangled chime: the accidental death of the opera libretto in Civil War England
Auteurs : Andrew Pinnock ; Bruce WoodSource :
- Early Music [ 0306-1078 ] ; 2008.
Abstract
Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each others business. This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or interpretation therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. A mangled chime looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 168090 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. Because Golden Age reserve inhibited frank negotiation between composers and poets it masked the composers textual needs in dramatic rather than lyrical situations and it ledvia hugely resourceful but non-confrontational Lawesto the overthrow of native English opera a century later.
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DOI: 10.1093/em/can046
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This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or interpretation therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. A mangled chime looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 168090 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. 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Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 168090 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. 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Secretary. His research collaboration with Bruce Wood goes back nearly 20 years. <email>A.J.Pinnock@soton.ac.uk</email></corresp><corresp>Bruce Wood is Professor of Music at Bangor University and Chairman of the Purcell Society. He has edited several volumes in the Purcell Society Edition and three of Musica Britannica, and has published extensively on English Restoration music. <email>b.wood@bangor.ac.uk</email></corresp></author-notes><pub-date pub-type="epub-ppub"><month>5</month><year>2008</year></pub-date><volume>36</volume><issue>2</issue><fpage>265</fpage><lpage>284</lpage><permissions><copyright-statement><italic>Early Music</italic>, Vol. XXXVI, No. 2 © The Author 2008. Published by Oxford University Press. All rights reserved.</copyright-statement><copyright-year>2008</copyright-year></permissions><abstract><p>Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each other’s business. This is a critical commonplace with heavy implications for performers. To avoid distracting attention away from the words, musical settings were kept as simple as possible. To facilitate simple strophic setting the poets made sure that each stanza of a multi-stanza poem followed the same metrical scheme, and they naturally assumed that composers would follow it too. The Golden Age achievement relied on collective self-restraint (not too much self-expression or ‘interpretation’ therefore); and when Henry Lawes and other cavalier composers of masque songs and masque-inspired opera abandoned that restraint the Golden Age was over. Henry Purcell had to start again from scratch. Little of this turns out to be true. ‘A mangled chime’ looks again at the relationship between words and music in 17th-century England, suggesting a more complicated system of interplay between the two. Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 1680–90 (the decade of <italic>Venus and Adonis</italic> and <italic>Dido and Aeneas</italic>) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to <italic>opera seria</italic> when the Italian invasion began soon afterwards. Because Golden Age reserve inhibited frank negotiation between composers and poets it masked the composers’ textual needs in dramatic rather than lyrical situations and it led—via hugely resourceful but non-confrontational Lawes—to the overthrow of native English opera a century later.</p></abstract><kwd-group><kwd>John Dowland</kwd><kwd>Henry Lawes</kwd><kwd>Thomas Campion</kwd><kwd>John Blow</kwd><kwd><italic>Venus and Adonis</italic></kwd><kwd>Henry Purcell</kwd><kwd><italic>Dido and Aeneas</italic></kwd><kwd>Georg Frideric Handel</kwd><kwd><italic>Rinaldo</italic></kwd><kwd>text-setting</kwd><kwd>early opera</kwd><kwd>masque</kwd></kwd-group></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>A mangled chime: the accidental death of the opera libretto in Civil War England</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>A mangled chime: the accidental death of the opera libretto in Civil War England</title></titleInfo><name type="personal" displayLabel="corresp"><namePart type="given">Andrew</namePart><namePart type="family">Pinnock</namePart><affiliation>E-mail: A.J.Pinnock@soton.ac.uk</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal" displayLabel="corresp"><namePart type="given">Bruce</namePart><namePart type="family">Wood</namePart><affiliation>E-mail: A.J.Pinnock@soton.ac.uk</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><subject><topic>ARTICLES</topic></subject><originInfo><publisher>Oxford University Press</publisher><copyrightDate encoding="w3cdtf">2008</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract>Early 17th-century English lute song represents a perfect fusion of words and music, simultaneously conceived by poets and composers with a deep instinctive understanding of each others business. 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Compositional technique was a mystery to most lyricists even at the height of the Golden Age, and as the century unfolded they found words matching the formal ambitions of contemporary theatre composers harder and harder to write. By 168090 (the decade of Venus and Adonis and Dido and Aeneas) the result was a peculiarly English approach to word-setting in which musical sound, though it echoed poetical sense, frequently obliterated poetic structure; a theory of English opera thoroughly confused in its aesthetic aims; and (in consequence) an uncoordinated response to opera seria when the Italian invasion began soon afterwards. 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