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• W210185845 abstract "In 1701, six years after death of composer Henry Purcell, managers of Theatre Royal placed following advertisement in The Flying Post. The Score of Musick for Fairy-Queen, set by late Mr. Henry Purcel, and belonging to Patentees of Theatre-Royal in Cove[n]t-Garden, London, being lost upon his Death: Whoever shall bring said Score, or true Copy thereof, first to Mr. Zachary Baggs, Treasurer of said Theatre, shall have twenty Guinea's [sic] for same. (1) Despite this plaintive plea, missing score did not materialize until 1900, when it was discovered in Royal Academy of Music's library. (2) This does not mean that Purcell's music went unperformed or unheard during eighteenth and nineteenth centuries. Pieces of dramatic opera were already available in print and had been, in fact, since 1692, when they were first sold in shops of John Carr and Henry Playford as well as at the Theatre in Dorset-Garden. (3) The printed playbook, which included descriptions of masques but not music itself, was sold week Fairy-Queen premiered, and updated version With Alterations, Additions, and several new SONGS appeared in 1693. (4) Once Purcell's score was lost, these descriptions and select pieces of music were all that were available to public until beginning of twentieth century. Taking unusual fate of Purcell's missing manuscript as its inspiration, this essay asks how The Fairy-Queen was heard by its Restoration audiences, arguing that it invites kind of piecemeal, creatively destructive reception. This is partly function of its form. An adaptation of Shakespeare's A Midsummer Night's Dream that combines spoken dialogue with elaborate new masques, The Fairy-Queen is example of what seventeenth-century music theorist Roger North derisively termed semi-opera. (5) Performed only rarely today compared to other kinds of music-drama, these hybrid entertainments were faulted by beginning of eighteenth century for their supposedly awkward marriage of theatrical forms. Such complaints, which have had long critical history, have been challenged more recently by musicologists attentive to aesthetic value of these productions and to subtle ways in which their musical scenes comment on theatrical action. (6) Rather than dismissing these critiques, however, I want to investigate reasons for their emergence. North's and others' attacks on semiopera participate in contest between holistic and partial modes of reception, as well as between rival conceptualizations of theatrical product itself--as integral, indivisible whole, or as something that can and should be open to creative refashioning. The following pages draw on recent in fields of musicology and philosophy as well as literary studies. (7) Musicologist Shai Burstyn has argued for need to produce a historical reconstruction of ear, scholarly project which he describes as an exercise in musical-historical imagination. (8) Listening, like music, has history, one that we can begin to piece together by examining practice within its cultural context. Burstyn's claim is based in part on Lydia Goehr's influential study of work-concept. (9) According to Goehr, since roughly 1800 idea of musical composition as work has regulated reception as well as composition, performance, and critical analysis of classical music. It structures, for example, assumptions that pianist will not improvise while playing serious music in concert hall and that his-or her audience will listen in silence. (10) Written and performed before work-concept became regulative, The Fairy-Queen participates in different musical-historical moment and is designed for different period ear. It is not musical in sense described by Goehr, but collaboratively produced, creative jumble of operatic, instrumental, and non-musical scenes performed within relatively bright and noisy space of Restoration theater. …" @default.
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• W210185845 date "2010-01-01" @default.
• W210185845 modified "2023-09-27" @default.
• W210185845 title "Dining on Two Dishes: Shakespeare, Adaptation, and Auditory Reception of Purcell's the Fairy-Queen" @default.
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