Shakespearean Concert Songs in Victorian England

Christopher R. Wilson
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Abstract

This chapter re-evaluates the status of settings of Shakespeare in the context of Victorian song from Macfarren to Henry Walford Davies, taking in Sullivan, Parry, MacKenzie, Stanford, Liza Lehmann, Maude Valérie White, Wood, and Somervell. Though often neglected today, Macfarren’s songs, including a number of Shakespeare settings, represented the ‘finest products of the period’. Seen as embodying the national emblem, Parry saw Shakespeare as central in his attempt to establish English ‘serious song’ comparable with the lieder of Schumann and Brahms and the dislodgement of commercial popular song prevalent in England. Parry’s settings of various sonnets in fact started life as German songs. Parry was not altogether successful in his mission; his only true disciple was Arthur Somervell. The last of the ‘Victorians’, Henry Walford Davies, was largely dismissed as a composer out of his time, his songs old-fashioned with their ‘forthright English melody’.
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莎士比亚音乐会歌曲在维多利亚时代的英国
这一章重新评估了莎士比亚在维多利亚时代歌曲背景下的地位,从麦克法伦到亨利·沃尔福德·戴维斯,包括沙利文、帕里、麦肯齐、斯坦福、丽莎·莱曼、莫德·瓦尔格里·怀特、伍德和萨默维尔。麦克法兰的歌曲,包括一些莎士比亚的背景,虽然今天经常被忽视,但代表了“那个时期最好的产品”。被视为国徽的化身,帕里认为莎士比亚是他试图建立英国“严肃歌曲”的核心,可以与舒曼和勃拉姆斯的抒情歌曲相媲美,并驱逐盛行于英国的商业流行歌曲。帕里的各种十四行诗的背景实际上是作为德国歌曲开始的。帕里的任务并不完全成功;他唯一真正的弟子是亚瑟·萨默维尔“维多利亚时代”的最后一位作曲家亨利·沃尔福德·戴维斯(Henry Walford Davies)在很大程度上被认为是一个落伍的作曲家,他的歌曲因“直率的英式旋律”而过时。
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