“勇敢的活泼男孩”的音乐:格洛斯特公爵、珀塞尔和《对外战争的噪音》

IF 0.1 3区 艺术学 0 MUSIC MUSICAL TIMES Pub Date : 2007-12-01 DOI:10.2307/25434498
Bryan White
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引用次数: 14

摘要

自从《外国战争的噪音》这首颂歌的片段在1964年首次引起学术界的关注以来,这首歌一直被认为是亨利·珀塞尔(Henry Purcell)创作的,尽管它创作的日期和场合仍然是个谜。这篇文章首次揭示了颂歌文本的完整手稿。它表明这首颂歌是为安妮公主写的,以庆祝她的儿子,格洛斯特公爵威廉·亨利于1689年7月24日出生。虽然手稿没有确定珀塞尔是作曲家,但它为这首颂歌提供了一个背景,与珀塞尔职业生涯的已知事实非常吻合。这篇文章表明,考虑到珀塞尔为1683年安妮公主的婚礼和1695年格洛斯特公爵的生日写的两首著名的颂歌,为她和她的家人工作可能是他宫廷职责的一部分。这首颂歌的创作日期和它可能是在短时间内创作的,这表明它与1689年8月5日珀塞尔为梅德威尔先生的学校创作的颂歌有关。迄今为止,学者们一直无法解释为什么珀塞尔将他1685年的颂歌《我心在跳动》作为《天乐》的开场交响曲。他很可能是在很短的时间内被要求创作《外战的噪音》,而这首歌与《天乐》的时间接近,现在为这种循环提供了一个合理的解释。这首诗的抄本表明,整首颂歌都是预先设定好的。这与对现存音乐手稿副本的分析相结合,为假设原始丢失来源的性质提供了依据,可能是未绑定的“fowle original”。
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Music for a 'Brave Livlylike Boy': The Duke of Gloucester, Purcell and 'The Noise of Foreign Wars'
Since the fragment of the ode ‘The noise of foreign wars’ was first brought to scholarly attention in 1964, the music has been attributed to Henry Purcell, though the date and occasion of its composition has remained a mystery. This article brings to light for the first time a complete manuscript copy of the text of the ode. It demonstrates that the ode was written for Princess Anne, to celebrate the birth of her son, William Henry, Duke of Gloucester on 24 July 1689. While the manuscript does not identify Purcell as the composer, it provides a context for the ode that fits well with the known facts of Purcell’s career. This article suggests that, given Purcell’s two known odes written for Princess Anne’s marriage in 1683 and for the Duke of Gloucester’s birthday in 1695, that works for her and her family may have been part of his court duties. The date of the ode and the likelihood that it was composed at short notice suggests a relationship with Purcell’s ode for Mr Maidwell’s school, performed on 5 August 1689. Hitherto, scholars have been unable to explain why Purcell recycled the symphony from his 1685 anthem ‘My heart is inditing’ as the opening symphony for ‘Celestial Music’. The short time-span in which he is likely to have been required to compose ‘The noise of foreign wars’ and its temporal proximity to ‘Celestial Music’ now provides a plausible explanation for this recycling. The manuscript copy of the poem demonstrates that the whole of the ode was set. This, combined with analysis of the extant manuscript copy of the music, provides grounds to hypothesize on the nature of the original lost source, probably a ‘fowle original’ that was not bound.
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