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This content downloaded from 128.171.57.189 on Thu, 17 Dec 2015 22:39:01 UTC
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HENRY PURCELL
BY ALEXANDER BRENT SMITH
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HENRY PURCELL
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I64
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HENRY PURCELL
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overture to 'King Arthur'. Here the first ten bars are built
exclusively upon a chord of D major, and when it does change it
is merely to pass momentarily on to a chord of A major or G major.
Of the last thirteen bars of the overture (6-8 time) eleven are made
up of chords of D major. Or, take the overture to the 'Ode for
St. Cecilia's Day'. Of the fifty-three bars which make up the
allegrosection twenty-nine are wholly built upon chords of D major.
In the vocal sections of these accompanied works the monotony
of key, though modified by the verbal interest, is a very real blemish.
Let us examine some of the airs from ' St. Cecilia's Day'. First,
' Wondrousmachine ', an air built upon a ground of two harmonies,
E minor and B major, repeated without alteration for roughly
twenty-four bars, followed, a few minutes later, by 'The fife and
all the harmony of war ', which practically never leaves the key of
D major. It may be said that Purcell is here trying to reproduce
the military atmosphere of trumpets and drums. But merely to
reproduce is bad art. An artist must reproduce discreetly. A
dramatist may introduce the character of an old bore into a play
-a Dogberry or Varges-but he must not let his old bore be a
bore. In ' Emma' Jane Austen has introduced a chatterbox
-Miss Bates. To some people, I believe, she is as tedious in fiction
as no doubt she would have been had she lived. Personally I love
her, but I admit that in reproducing her chatter Jane Austen ran
a great risk, a risk which Purcell ran in this air, and elsewhere,
not altogether successfully.
And yet he could move easily and naturally into other keys, as
he does in such delightful numbers as 'How blest are shepherds'
and 'Come if you dare', to name but two instances. It will be
observed that his unaccompanied music is not thus keybound.
And why is it that his unaccompanied choral music is so rich and
varied, while his accompanied music is nothing short of tedious ?
Is it not that unaccompanied vocal music had a long and great
tradition behind it and that he felt in writing the call to match and
if possiblesurpassthe masterpiecesof his predecessors. Instrumental
and orchestral music was a comparatively new form. Now we
know that in the early days of any art great subtlety is not demanded.
We of this generation can remember how in the early days of
cinemas every stunt was so fresh, so amazing that the simplest
effects, the roughest comedy and the crudest sentiments were
sufficient to hold the attention of multitudes. As film production
developed these crude methods were found wanting and subtlety
of effect, of humour and delicacy of sentiment were demanded.
To the audiences of Purcell's day the mere blending of orchestral
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I66
might not have been improved with more subtlety and variety.
Very different was his writing in the fantasies for strings. Here,
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HENRY PURCELL
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I have said previously that the eulogies of his works by biographers and the neglect of them by conductors suggests that they
are like jewellery which ladies keep in the bank-splendid to boast
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I68
of but difficult to use. And this is very nearly true. The jewels
embedded in these works are frequently priceless, brilliant and
sparkling, but alas ! the setting or the design is not always worthy
of those jewels. Sometimes the gold looks uncommonly like brass,
and the design appears unbalanced and haphazard. At repeated
intervals conductors and choir-masters, realizing the splendour of
those jewels, decide that something must be done. But the same
tale has to be told-the
big works (all except 'Dido ') for one
reason or another do not quite come off. Perhaps the untidiness
of the design, the happy-go-lucky arrangement, was characteristic
of English thought at the time (and may still be). In the French
view of that time everything English was a muddle. Compared to
Racine, Shakespeare was a muddle.
Compared to the court of
Louis XIV, that of Charles II was a muddle. Compared to the
Roman Catholicism of France, English Protestantism was a muddle.
So the music of Purcell was no exception.
In spite of patchiness, in spite of inequalities, Purcell's individual
numbers, his rhapsodic solos, his unaccompanied anthems, and of
course ' Dido ', will stand for all time, and only in the greatest
moments of subsequent composers shall we find passages worthy to
stand beside them. To have written one or two works which have
no rivals except in the greatest works of their class is in itself a
passport to Parnassus. It we measure Purcell by the quantity of
flawless works, then indeed he must occupy a very lowly position,
but if we measure him by the quality of the few acknowledged
masterpieces then we may look for him high upon those sacred
slopes where we shall most certainly find him; and Schubert,
Gluck and Bach are of his company.
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