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Books > Arts & Architecture > Music > Western music, periods & styles > Baroque music (c 1600 to c 1750)
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Henry Purcell's Dido and Aeneas (Paperback, 2nd Revised edition)
Loot Price: R1,566
Discovery Miles 15 660
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Henry Purcell's Dido and Aeneas (Paperback, 2nd Revised edition)
Expected to ship within 9 - 15 working days
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Donate to Against Period Poverty
Total price: R1,586
Discovery Miles: 15 860
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Purcell's Dido and Aeneas stands as the greatest operatic
achievement of seventeenth-century England, and yet, despite its
global renown, it remains cloaked in mystery. The date and place of
its first performance cannot be fixed with precision, and the
absolute accuracy of the surviving scores, which date from almost
100 years after the work was written, cannot be assumed. In this
thirtieth-anniversary new edition of her book, Ellen Harris closely
examines the many theories that have been proposed for the opera's
origin and chronology, considering the opera both as political
allegory and as a positive exemplar for young women. Her study
explores the work's historical position in the Restoration theater,
revealing its roots in seventeenth-century English theatrical and
musical traditions, and carefully evaluates the surviving sources
for the various readings they offer-of line designations in the
text (who sings what), the vocal ranges of the soloists, the use of
dance and chorus, and overall layout. It goes on to provide
substantive analysis of Purcell's musical declamation and use of
ground bass. In tracing the performance history of Dido and Aeneas,
Harris presents an in-depth examination of the adaptations made by
the Academy of Ancient Music at the end of the eighteenth century
based on the surviving manuscripts. She then follows the growing
interest in the creation of an "authentic" version in the
nineteenth and early twentieth centuries through published editions
and performance reviews, and considers the opera as an important
factor in the so-called English Musical Renaissance. To a
significant degree, the continuing fascination with Purcell's Dido
and Aeneas rests on its apparent mutability, and Harris shows this
has been inherent in the opera effectively from its origin.
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