Book contents
- Compositional Artifice in the Music of Henry Purcell
- Musical Performance and Reception
- Compositional Artifice in the Music of Henry Purcell
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Acknowledgements
- Note on Music Examples
- Abbreviations
- Glossary of Analytical Terms
- Introduction
- Part I Purcell’s ‘Art of Descant’
- Part II ‘Thou dost thy former skill improve’
- Chapter 5 ‘Celestial art[ifice]’ in Hail, bright Cecilia
- Chapter 6 Artifice and Musical Modelling
- Chapter 7 Augmentation as Artifice, Artifice as Augmentation
- Chapter 8 ‘Italian sonatas in orchestral garb’
- Bibliography
- Index of Compositions
- General Index
Chapter 8 - ‘Italian sonatas in orchestral garb’
from Part II - ‘Thou dost thy former skill improve’
Published online by Cambridge University Press: 30 September 2019
- Compositional Artifice in the Music of Henry Purcell
- Musical Performance and Reception
- Compositional Artifice in the Music of Henry Purcell
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Acknowledgements
- Note on Music Examples
- Abbreviations
- Glossary of Analytical Terms
- Introduction
- Part I Purcell’s ‘Art of Descant’
- Part II ‘Thou dost thy former skill improve’
- Chapter 5 ‘Celestial art[ifice]’ in Hail, bright Cecilia
- Chapter 6 Artifice and Musical Modelling
- Chapter 7 Augmentation as Artifice, Artifice as Augmentation
- Chapter 8 ‘Italian sonatas in orchestral garb’
- Bibliography
- Index of Compositions
- General Index
Summary
It has frequently been observed that the techniques that Purcell employed in his trio sonatas found a new outlet in his orchestral symphonies and overtures of the 1690s.Giovanni Battista Draghi’s 1687 Cecilian ode had shown how a large-scale work could begin with an Italianate orchestral sinfonia rather than the more conventional English take on the French overture, and in their odes and theatre music of the 1690s Purcell and Blow embraced this feature with enthusiasm. What is not often acknowledged is that, Draghi’s example aside, Purcell was effectively forced to invent this genre for himself, adapting the chamber sonata to the larger orchestral resources available at performances of court odes and in the theatre.
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- Compositional Artifice in the Music of Henry Purcell , pp. 236 - 270Publisher: Cambridge University PressPrint publication year: 2019