Includes bibliographical references (pages 271-283) and indexes.
Contents:
Introduction -- Part I. Purcell's "Art of descant". In counterpoint : Sources and analysis ; Artifice, Fugeing and Fantazia ; "The chiefest instrumental musick now in request" : Canzonas and other sonata fugues ; "The power of the Italian notes" : Purcell's sonatas as and in reception -- Part II. "Thou dost thy former skill improve". "Celestial art(ifice)" in Hail, bright Cecilia ; Artifice and musical modelling ; Augmentation as artifice, artifice as augmentation ; "Italian sonatas in orchestral garb".
Summary:
Fugal invention has proved a successful line of analytical inquiry in recent studies of repertoires from Josquin to J. S. Bach. Alan Howard brings similar insights to the music of Henry Purcell, and proposes the first analytical approach to his music to examine compositional methods alongside historically contemporary theory, focusing particularly on Purcell's 'artificial' approach to imitative counterpoint. Through this methodology Howard challenges many misunderstandings about Purcell's music that led to him being categorized as old-fashioned and unimaginative. This study offers fresh insights into the musical world in which Purcell lived and worked and situates Purcell's compositional concerns in the broader context of notions of artifice in Restoration culture. Howard thereby offers both a fresh analytical approach - both to Purcell's early instrumental works and to his later concerted vocal music - and a critique of the reception history surrounding the fantazias and sonatas in particular.--Book jacket.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.