A mangled chime: the accidental death of the opera libretto in Civil War England
Identifieur interne : 001424 ( Main/Exploration ); précédent : 001423; suivant : 001425A mangled chime: the accidental death of the opera libretto in Civil War England
Auteurs : Andrew Pinnock [Royaume-Uni] ; Bruce Wood [Royaume-Uni]Source :
- 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.
Url:
DOI: 10.1093/em/can046
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 000150
- to stream Istex, to step Curation: 000150
- to stream Istex, to step Checkpoint: 000444
- to stream Main, to step Merge: 001444
- to stream Main, to step Curation: 001424
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>A mangled chime: the accidental death of the opera libretto in Civil War England</title><author><name sortKey="Pinnock, Andrew" sort="Pinnock, Andrew" uniqKey="Pinnock A" first="Andrew" last="Pinnock">Andrew Pinnock</name></author><author><name sortKey="Wood, Bruce" sort="Wood, Bruce" uniqKey="Wood B" first="Bruce" last="Wood">Bruce Wood</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:8DC3B882428B1229B509C513469AFBD1232CDD57</idno><date when="2008" year="2008">2008</date><idno type="doi">10.1093/em/can046</idno><idno type="url">https://api.istex.fr/document/8DC3B882428B1229B509C513469AFBD1232CDD57/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000150</idno><idno type="wicri:Area/Istex/Curation">000150</idno><idno type="wicri:Area/Istex/Checkpoint">000444</idno><idno type="wicri:doubleKey">0306-1078:2008:Pinnock A:a:mangled:chime</idno><idno type="wicri:Area/Main/Merge">001444</idno><idno type="wicri:Area/Main/Curation">001424</idno><idno type="wicri:Area/Main/Exploration">001424</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">A mangled chime: the accidental death of the opera libretto in Civil War England</title><author><name sortKey="Pinnock, Andrew" sort="Pinnock, Andrew" uniqKey="Pinnock A" first="Andrew" last="Pinnock">Andrew Pinnock</name><affiliation wicri:level="1"><country wicri:rule="url">Royaume-Uni</country></affiliation></author><author><name sortKey="Wood, Bruce" sort="Wood, Bruce" uniqKey="Wood B" first="Bruce" last="Wood">Bruce Wood</name><affiliation wicri:level="1"><country wicri:rule="url">Royaume-Uni</country></affiliation></author></analytic><monogr></monogr><series><title level="j">Early Music</title><idno type="ISSN">0306-1078</idno><idno type="eISSN">1741-7260</idno><imprint><publisher>Oxford University Press</publisher><date>2008</date><biblScope unit="volume">36</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="265">265</biblScope><biblScope unit="page" to="284">284</biblScope></imprint><idno type="ISSN">0306-1078</idno></series><idno type="istex">8DC3B882428B1229B509C513469AFBD1232CDD57</idno><idno type="DOI">10.1093/em/can046</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0306-1078</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="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.</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country></list><tree><country name="Royaume-Uni"><noRegion><name sortKey="Pinnock, Andrew" sort="Pinnock, Andrew" uniqKey="Pinnock A" first="Andrew" last="Pinnock">Andrew Pinnock</name></noRegion><name sortKey="Wood, Bruce" sort="Wood, Bruce" uniqKey="Wood B" first="Bruce" last="Wood">Bruce Wood</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001424 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 001424 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:8DC3B882428B1229B509C513469AFBD1232CDD57
|texte= A mangled chime: the accidental death of the opera libretto in Civil War England
}}
| This area was generated with Dilib version V0.6.21. |  |