Sources of ‘If love’s a sweet passion’ from the 1690s (not including single-sheet songs or broadside ballads), Henry Purcell, ‘If love’s a sweet passion’, from The Fairy Queen (1692), transcribed from Some Select Songs (1692). 04-74-67-59-97)E-mail : paul.guerin9@orange.frFilmé le 18 mars 2012 par Pierre Michel (frère de Louis) lors d'un magnifique concert associant les chorales précitées et l'Orchestre Symphonique de Lyon à l'église de la Rédemption (LYON 6ème) édifice néo-gothique, fruit d'une somptueuse et imposante réalisation architecturale, L'église qui est pourtant grande était pleine à craquer (+ de 600 spectateurs et 135 choristes et instrumentistes)Ce menuet met les sopranes à l'épreuve, elles qui peinent tant à monter dans les hautes sphères de leur tessiture sont sollicitées pas moins de six fois (avec la reprise pour monter au sol (c'est drôle !) [Alas! Norrköping, Public Library, Finspång 9096:7, 136–37. Boyer used ‘If love’s a sweet passion’ in his Compleat French-Master (1694) and his French lyrics appear in Finspång 9096:7. English text The article shows the variety of uses and adaptations of ‘If love’s a sweet passion’ in English and French-language contexts. The first violin part to music from The Fairy Queen published in Ayres was also copied into Finspång 9094, titled ‘Musick by Mr Henrÿ Purcel in the Opera call’d the Farÿ Queen. Or repent e’vry morn when I know ’tis in vain? Language: English Instruments: A cappella . Most of the volumes date from the late 17th century or early 18th century, and contain French instrumental music. Item Number: S0.72221 "If Love’s a Sweet Passion" (from The Fairy Queen) by Henry Purcell, for easy classical guitar. elles n'y arriveront jamais (c'est moins drôle !) Die deutsche Übersetzung von If Love's a Sweet Passion und andere Henry Purcell Lyrics und Videos findest du kostenlos auf Songtexte.com. The French adaptation of ‘If love’s a sweet passion’ in Abel Boyer’s The Compleat French-Master also implies processes of translation between England and the Continent. Ah! It enabled someone on a low income, with no musical training, no experience of the theatre or knowledge of the original forms of the song, and even limited literacy, to access and use the songs in a meaningful way.18 This does not mean that such people were the only, or necessarily the primary users of this format, but turning theatre songs into broadside ballads arguably made the songs accessible to their largest possible audience.19. but a little hope would do me good.]. As Rebecca Herissone has noted, the reception of Purcell’s music is a rarely studied subject.1 While there has been some work on the posthumous uses of some of Purcell’s instrumental music and dramatic operas, the dissemination of his theatre songs beyond so-called authoritative sources has attracted little scholarly attention outside straightforward bibliographic lists.2 This article uses Purcell’s ‘If love’s a sweet passion’, from the 1692 dramatick opera The Fairy Queen, as a case study, analysing the different formats in which the song was published in the 1690s, its transmission in England and abroad, the creative adaptations required by each format and its associated audience, and the new meanings arising from such transmission and adaptation.3 The article aims to show mechanisms of popularization and translation in late 17th-century English vocal music, as a way of suggesting a fruitful course for future Purcell studies and inspiring performers to imagine Purcell’s music in new ways.4 Beginning by outlining the formats in which ‘If love’s a sweet passion’ was disseminated in late 17th-century England, the discussion then moves to its dissemination on the Continent. tell me whence comes my content? As early as 1692, Charles Bates published the song as an expanded broadside ballad called ‘The Young Lover’s Enquiry’, with the tune given in musical notation.8 Bates translated the two stanzas of ‘If love’s a sweet passion’ from the language and conventions of the theatre into that of the workshop, tavern, street or home, adding five new stanzas that give the poem a narrative character closer to that of the ballad idiom. G. Freeman, ‘The transmission of lute music and the culture of aurality in early modern England’, in Beyond boundaries: rethinking music circulation in early modern England, ed. Pepys’s collection of broadside ballads is kept at the Pepys Library, Magdalene College, Cambridge, and has been digitized as part of EBBA (see n.10 above). As Peter Burke comments, ‘Translations reveal what one culture (or group within that culture) finds interesting in another’.47 The case of ‘If love’s a sweet passion’ highlights the need for a common point of reference in terms of language and musical convention for one culture to take an interest in the music of another at all. Of course, someone with no knowledge of ‘If love’s a sweet passion’ could laugh at the morning-after regret in ‘If wine be a cordial’, but the real joke is the pun on the original lyrics, which requires users to be familiar with that song. Air par Monsr Abel Anglois, sur le Concert a Utrecht’.41 Abell himself claimed that he had sung before William III in the Netherlands, writing in the dedication of A Collection of Songs in Several Languages (1701) that the king had been ‘so Gracious as to hear ’em [the songs] both in Holland, and on my return home’, and Edward Corp has suggested that Abell indeed visited William at Het Loo after leaving St Germain.42 Abell thus seems to have been present in the Netherlands at about the time that Finspång 9096:7 was copied. Purcell adapted other songs in the volume as well: as Bruce Wood and Andrew Pinnock note, Mopsa’s part in ‘Now the maids and the men’ was transposed from G to F and presented in the treble instead of the alto clef, making it easier for women to sing than the top B}s originally sung (an octave lower) by tenor John Pate.6 Songs published and adapted in this way served both as performance materials adapted to enable performance by non-professionals, and as souvenirs from a particular theatre performance. R. Herissone, ‘Performance history and reception’, in The Ashgate research companion to Henry Purcell, ed. Theatre songs by Purcell expanded (retaining all or part of the original song text) into broadside ballads in the 1680s and 90s, ‘The Young Lover’s Enquiry’, sung to ‘If love’s a sweet passion’ (Magdalene College, Cambridge, Pepys Library, Pepys Ballads 5.173; published by permission of the Pepys Library, Magdalene College, Cambridge), Over 30 ballads sung to ‘If love’s a sweet passion’ were published after ‘The Young Lover’s Enquiry’. The Songs in the Indian Queen (1695), verso of title-page. It consists of eight French songs with musical notation, some of which are identifiable as excerpts from operas by Lully, and four songs meant to be sung to the English tunes ‘Rigadoon’, ‘Why are my eyes still flowing’ and ‘If love’s a sweet passion’ (see Table 4). 39565–7. This clearly suggests that musical literacy was not expected of broadside ballad users. Henry Purcell - Z 629 The Fairy Queen, III, 1 "If love's a sweet passion". Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide, This PDF is available to Subscribers Only. The Compleat French-Master consists of a grammar, a vocabulary with texts and dialogues on various subjects, and a third part resembling a contemporary miscellany, which contains jokes, letters, stories, proverbs and songs.30 The ‘Collection of French Songs to the Newest and best French and English Tunes’ was printed in London by William Onley for Thomas Salusbury and appended to the back of The Compleat French-Master (pp.115–26). G. C. Gibbs, ‘Abel Boyer Gallo-Anglus Glossographus et Historicus 1667–1729; from tutor to author, 1689–1699’, Proceedings of the Huguenot Society, xxiv (1983), pp.46–59. The structure of the new text follows the original, with the if–why in the first line, exclamations of ‘oh!’ in the same places as in the original, and a climax that closely follows the lyrics and music of ‘If love’s a sweet passion’. B. She is now a Senior Lecturer at the School of Music, Theatre and Art, Örebro University, Sweden. The French style of ‘If love’s a sweet passion’ fits well into this mix. The additional stanzas concretize the abstract ideas of the original song and place them in an easily recognisable context: the result is not so much an ‘enquiry’ into the nature of love in general as a thinly veiled proposal from the young lover to his Celia (illus.1). Listen online to Henry Purcell - Act III: If love's a sweet passion and find out more about its history, critical reception, and meaning. Shay and Thompson, Purcell manuscripts, p.285. Henry Purcell - Z 629 The Fairy Queen, III, 1 "If love's a sweet passion". Connectez-vous à Apple Music. For the idea that translation entails more than a simple change of language, see P. Burke, ‘Cultures of translation in early modern Europe’, in Cultural translation in early modern Europe, ed. [Love captures us to make us happy, / It is a sweet Slavery to be in love, / Whatever worries one suffers when in love, / The pleasures outshine the greatest torments. k.4.a.8. Find album reviews, stream songs, credits and award information for Purcell: Music for a While; If Love's a Sweet Passion; Fairest Isle; Handel: Silete Venti - Miriam Allan, Ironwood on AllMusic - 2012 - This release is a product of Australia's… Find recording details and track inforamtion for The Fairy Queen, semi-opera, Z. Jean Michel donne les notes avec une grande justesse sol, sib, ré et dès la première note on prend un demi-ton dans la vue. This is an Open Access article distributed under the terms of the Creative Commons Attribution Non-Commercial License (, So you want to sing early music: a guide for performers, Ina Lohr (1903–1983): transcending the boundaries of early music, Schola Cantorum Basiliensis Scripta 9, Beyond the baton. If Love's a Sweet Passion. The only known copy of this book survives in the Finspång collection, again suggesting some connection between the De Geers and Abell. Carter, ‘Music publishing’, pp.199–200. Connect to Apple Music to play songs in full within Shazam. This invites modern-day performers and scholars alike to reimagine the sounds and settings of Purcell’s song. Cambridge, King’s College Library, Rowe 110.22.81. R. D. Hume, ‘The economics of culture in London, 1660–1740’, Huntington Library Quarterly, lxix/4 (2006), pp.487–533, at pp.497, 531. Number of voices: 4vv Voicing: SATB Genre: Secular, Opera. If Love's a Sweet Passion Songtext von Henry Purcell mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Shay and Thompson, Purcell manuscripts, pp.302–03; Henry Purcell, The Fairy Queen, ed. Listen to If Love's A Sweet Passion (Henry Purcell) by Glenda Simpson & Barry Mason, 1 Shazams. A. McShane, ‘Ballads and broadsides’, in The Oxford history of popular print culture, I: Cheap print in Britain and Ireland to 1660, ed. It is nevertheless highly singable, which perhaps partly explains its enduring popularity. It has shown that ‘If love’s a sweet passion’ spread rapidly in printed formats that enabled the song to reach a much wider audience than those few who had originally heard it performed at the theatre: broadside ballads, single-sheet engravings, instrument books and miscellanies. Yet so charming the glass is, so deep is the quart, That at once it both drowns and enlivens my heart.16. Duet with accompaniment, probably published later in the decade. / The cruellest chain I change into softness, / When the object of one’s loves no longer resists]31. Écoutez If Love's A Sweet Passion de Henry Purcell, 34 Shazams. Project 'Fathers of Musicke' with students from the Early Music Department of the Royal Conservatory The Hague. G. C. Gibbs, ‘Boyer, Abel (1667?–1729), lexicographer and journalist’, Oxford Dictionary of National Biography Online, www.oxforddnb.com (accessed 5 February 2018); see also J. F. Flagg, ‘Abel Boyer: a Huguenot intermediary’ (PhD diss., Boston University, 1973), pp.1, 15, 420–25. The article has also shown the importance of many sources customarily overlooked by scholars who favour manuscripts and printed editions close to the composer—sources including a small Anglo-French grammar book containing sloppily printed music, and broadside ballads with no music at all. Listen online to Henry Purcell - Act III: If love's a sweet passion and see which albums it appears on. The publication of ‘If love’s a sweet passion’ in different formats in the 1690s shows the varied uses of Purcell’s music by contemporary audiences, and also calls into question the idea that ‘elite’ and ‘popular’ music were separate spheres.24 Performers in the 17th century would have known this piece in a variety of guises: as a theatre song performed on stage with a chorus, continuo and perhaps orchestral accompaniment, as a song sung or played alone, or performed before friends at home, as a drinking song mocking the debilitating effects of too much wine, or as a narrative ballad, perhaps sung together with others while working. ‘If love’s a sweet passion’ also began making a strong mark among London’s balladeers. 629 - Henry Purcell on AllMusic. The French contrafactum preserved in the Finspång manuscript appears to have first circulated in England in Abel Boyer’s French grammar book The Compleat French-Master (1694). 30389 and 39565–7, c.1695), which Shay and Thompson have suggested were compiled by a French musician for Queen Anne’s wind band, further implying the wide use of the tune.23. S. Tuppen, “‘Whole reams of single Songs become our Curse”: the role of music engraver Thomas Cross in the commercialisation of English music’ presented at Musicians, Publishers and Pirates of the mid-Baroque, study day at the British Library, 29 June 2016; R. Herissone ‘“Exactly engrav’d by Tho: Cross”? For full access to this pdf, sign in to an existing account, or purchase an annual subscription. The role of single-sheet prints in preserving performing practices from the Restoration stage’, presented at the 17th Biennial International Conference on Baroque Music, Canterbury, UK, 15 July 2016. This pitch change is to establish her emotion of “torment” and sorrow. In addition to the French songs, the manuscript contains Purcell’s ‘If love’s a sweet passion’ and ‘Take not a woman’s anger ill’ (from The Rival Sisters). Quel que soit le chagrain que l’on souffre en aimant. The appeal of single-sheet songs was arguably their versatility: priced around 2d, they were cheap enough for people with limited money for music and entertainment, and also allowed music-lovers to create their own collections of popular songs. The majority have also been listed and digitised by the English Broadside Ballad Archive (EBBA), https://ebba.english.ucsb.edu. known.. AQ Q  bit - pas- ter, sion- oh ate   tell si -  me, lence,  whence I Â. comes make Â Ê my my  con - love S‰ tent? In this case, Shay and Thompson have suggested that the song was copied from a printed source.35 Furthermore, its style brisée ornamentation provides a glimpse of how a French musician brought his performance practice to bear on ‘If love’s a sweet passion’. See D. Hunter, ‘English opera and song books, 1703–1726: their contents, publishing, printing, and bibliographical description’ (PhD diss., University of Illinois at Urbana Champaign, 1989); on the nature of Purcell reception more generally, see J. Higney, ‘Henry Purcell: A reception / dissemination study, 1695–1771’ (PhD diss., University of Western Ontario, 2008); S. Tuppen, ‘Purcell in the 18th century: music for the “Quality, Gentry, and Others”’, Early Music, xliii/2 (2015), pp.233–45; A. Howard, Compositional artifice in the music of Henry Purcell (Cambridge, 2019), pp.5–19. Johann Mattheson’s Der Vollkommene Capellmeister: a revised translation with critical commentary, trans. They also follow the metre and character of the song carefully, with the most poignant lines in the French lyrics coinciding with the melody’s climactic rise to a high F! The introvert reflexion on a tentative and confusing romantic experience becomes a panegyric of love and beauty with an underlying narrative. Public Library of Norrköping, Sweden, Ms. Finspång 9096:7: engraved frontispiece (published by permission). See also J. Roding and L. Heerma van Voss, The North Sea and culture (1550–1800): proceedings of the international conference held at Leiden, 21–22 April 1995 (Hilversum, 1996). I sigh both Night & Day, / I complain, I desire, I burn with love; / I shall surely die without delay if / I cannot find a moment to declare [my love]: / My cares & my constancy, have they achieved nothing? Wood and A. Pinnock, ‘“The Fairy Queen”: a fresh look at the issues’, Early Music, xxi/1 (1993), pp.45–62, at p.49. Since I drink it with pleasure why should I complain. Henry Purcell (1658-95) p If love's a sweet passion p p p..... AQQ  bit - pas- ter, sion- oh ate   tell si -  me, lence,  whence I  comes make Â. Í Â Î my my  con - love ‰ tent? C. W. Marsh, Music and society in early modern England (Cambridge, 2013), pp.299, 320–21. ‘If love’s a sweet passion’ appears in the small oblong manuscript songbook Finspång 9096:7, which is part of the 18-volume set Finspång 9096. Austern, Bailey and Eubanks Winkler, pp.165–86. La plus cruelle Chaine je change en douceur. Boyer, Compleat French-Master, pp.viii–ix; see also Flagg, ‘Abel Boyer’, pp.57–150. Ester Lebedinski, The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music, Early Music, Volume 48, Issue 1, February 2020, Pages 75–89, https://doi.org/10.1093/em/caaa003, The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music. known.. AQ Q  bit - pas- ter, sion- oh ate  tell si -  me, lence,  whence I Â. comes Charles Burney, A general history of music: from the earliest ages to the present period (1798) (New York, 2/1957), ii, p.404. Purcell, ‘If love’s a sweet passion’, as copied in Ms. Finspång 9096:7, pp.80–81 (Public Library of Norrköping, Sweden; published by permission of the library), The French version of ‘If love’s a sweet passion’ also appears among the ‘New French Songs’ at the back of the vastly popular French grammar book The Compleat French-Master, published in London in 1694 by the Huguenot journalist, historian and lexicographer Abel Boyer (?1667–1729).27 Boyer arrived in England, via the Netherlands, in 1689, and soon became French and Latin tutor to the eldest son of Sir Benjamin Bathurst, Comptroller of the Household of the Princess Anne and Prince George. Au Doule. Boyer’s French lyrics follow the bittersweet love theme of the original English text. First Trebles’, indicating that there was at least some manuscript dissemination of Purcell’s music abroad. Concert at the Dorpskerk, de Glind. The tune also appears in four manuscript partbooks (London, British Library Add. Compare R. Chartier, The cultural uses of print in early modern France, trans. Download and print in PDF or MIDI free sheet music for If Love's A Sweet Passion by Henry Purcell arranged by John__Smith for Bass (Solo) See further R. Rasch, ‘The music publishing house of Estienne Roger and Michel-Charles Le Cène 1696–1743’, Part Two: Catalogues in Facsimile (2012), https://roger.sites.uu.nl/part-two-catalogues/ (accessed 7 February 2018); also F. Lesure, Bibliographie des éditions musicales publiées par Estienne Roger et Michel-Charles Le Cène, Amsterdam, 1696–1743 (Paris, 1969), p.36. Abstract. Broadside ballads, by contrast, were widely accessible. London, British Library, call no. Sung by Mrs. Dyer’ (illus.2).14 The reference to the ‘new opera’ and the performance by Mrs Dyer would suggest that the sheet was published soon after the premiere of The Fairy Queen. The De Geers’ ties with the Netherlands remained close, with several generations of family members moving between Sweden, Utrecht and The Hague.25 The musical sources suggest that at least some parts of the family’s music collection had equally strong connections to the city of Utrecht: an engraving at the front of each of Finspång 9096:7, 9096:6 and 9096:9 shows a group of putti making music above the colophon ‘Tot Utrecht Bÿ Arnoldus vanden Eynden’ (illus.3). On publication strategies for different music markets, see R. Herissone, ‘Playford, Purcell, and the functions of music publishing in Restoration England’, Journal of the American Musicological Society, lxiii/2 (2010), pp.243–89, at p.281; S. Carter, ‘Music publishing and compositional activity in England, 1650–1700’ (PhD diss., University of Manchester, 2010), pp.124, 147. L. G. Cochrane (Princeton, 1987), pp.243–8. That a piece of printed music was relatively cheap, or adapted for beginners, does not mean that it was widely accessible. I am grateful to Clémence Destribois for checking my translation. E. C. Harris, Studies in Musicology (Ann Arbor, 1981), p.241; See also Spink, ‘Abell, John (i)’. A similar expanded ballad is also preserved at the British Library, call no. Cambridge, Magdalene College, Pepys ballads 5.173. Although broadside ballads and single-sheet songs could both be produced very rapidly and cheaply, the conventions of the single-sheet format arguably excluded some ballad users. Musical direction and conducting in Stuart and Georgian Britain, In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer, A French version of an English song, in a Dutch book, https://roger.sites.uu.nl/part-two-catalogues/, http://creativecommons.org/licenses/by-nc/4.0/, Receive exclusive offers and updates from Oxford Academic, Great Britain: London, British Library Add. Holman built his conclusions on Rudolf Rasch’s catalogues of music published by Roger (see Rasch, ‘The music publishing house’). / If a bitter, oh tell me / Whence comes my content? Yet, the appearance of the untranslated ‘Take not a woman’s anger ill’ in Finspång 9096:7 shows that the English language barrier was not always insurmountable. Read about The Fairy Queen, Z. R. E. Murray Jr., S. Forscher and C. J. Cyrus (Bloomington, 2010), pp.347–85. See also D. W. Krummel, English music printing, 1553–1700 (London, 1975), p.169. The idea that aural dissemination of the tune had a place also in middling contexts is further supported by the inclusion of the tune of ‘If love’s a sweet passion’ in sets of manuscript teaching materials, such as the Elizabeth Segar songbook (Yale University, New Haven, CT, Osborn Ms. 9, fol.17r–v) and Anne Burrow’s octavo flute book (Bodleian Library, Oxford, Ms. Mus.Sch.g.614, fols.33v–34r), and as a handwritten addition to James Macadam’s copy of Youth’s Delight on the Flagelet the second part (1690).32 These copies are probably instances in which a teacher would have written down the piece from memory into a student’s book, as Graham Freeman has argued was common with music in manuscript teaching materials for the lute.33 Similarly, Rebecca Herissone has argued that Daniel Henstridge copied much of his pocket-book London, British Library, Add. Duet with accompaniment, probably published later in the decade. Übersetzung des Liedes „Z 629 The Fairy Queen, III, 1 'If love's a sweet passion'.“ (Henry Purcell) von Englisch nach Neopolitanisch Deutsch English Español Français Hungarian Italiano Nederlands Polski Português (Brasil) Română Svenska Türkçe Ελληνικά Български Русский Српски العربية فارسی 日本語 … First published: Description: From The Fairy-Queen, Act III. L. P. Austern, C. Bailey and A. Eubanks Winkler (Bloomington, 2017), pp.42–53. c.121.g.9.(34). Title: If love's a sweet passion Composer: Henry Purcell. This presupposes a musically literate audience with some awareness of the original context of the song. Catalogues attached to the fifth volume of Recueil d’airs sérieux et a boire (1697), Étienne Loulié’s Élements ou principes de musique (1698), L’histoire des empereurs Romains … écrite en Latin par Suetone, & nouvellement traduite par Mr. du Teil (Amsterdam, 1699). See Krummel, English music printing, p.166 n.50. Boyer was known for his ability to translate French texts to make them suit English tastes; if the French lyrics to ‘If love’s a sweet passion’ are by him, they show this ability in translation from English to French as well. Stream songs including "King Arthur, or The British Worthy, Z.628, Act V: Fairest Isle", "The Fairy Queen, Z.629, Act II: "I Am Come To Lock All Fast"" and more. The popularity of the song in England suggests that Boyer provided new French lyrics for an audience already familiar with the original English text and melody. The Finspång collection belonged to a Dutch family named De Geer at Finspång castle in Östergötland: the first member of the family to settle in Sweden was one Louis de Geer (1587–1652) from Liège, who purchased the ironworks at Finspång in 1641. Several of the books, for instance 9096:7, 9096:3 and 9096:10, include elementary music theory such as the gamut, instructions for solmization, note values and rests, clefs and time signatures, suggesting they were intended for less-expert performers or instruction. Quand l’objét que l’on aime n’a plus de rigeur. Unusually, ‘If love’s a sweet passion’ also crossed social and cultural borders beyond the British Isles. Both were also evidently copied by non-native English speakers, as suggested by the tendency to spell ‘I’ as ‘ÿ’, and the misplaced apostrophes at ‘w’ont’, ‘d’os’ and ‘t’is’. ‘If love’s a sweet passion’ survives as a small sheet published with the title ‘A song in the New Opera call’d, The Faiery Queen. In this way, performances of translated works have the potential to let us reimagine the musical sounds of early modern Europe. Gibbs, ‘Boyer, Abel (1667?–1729), lexicographer and journalist’. As Robert D. Hume has shown, this would have been a very small proportion of the English population.17 The same could be said about didactic books of instrumental music, such as Apollo’s Banquet (1693) which includes the melody of ‘If love’s a sweet passion’. Je soûpire’, sung to ‘If love’s a sweet passion’, ‘L’amour nous engâge’, sung to ‘If love’s a sweet passion’. That these ballads adapt the original song texts, when ballads typically set completely new words to well-known melodies, seems to suggest that they were published soon after the premieres of the plays concerned. Read about The Fairy Queen ''If love's a sweet passion'' (Veronique Gens - soprano) by Henry Purcell and see the artwork, lyrics and similar artists. John Hawkins, who made heavy use of available printed music for his General History (1776), explicitly categorized ‘If love’s a sweet passion’ as a ballad: Other compositions of his [Purcell’s] are of a class different from those above mentioned, as ballads and catches, of which he made many. The Finspång collection mainly contains music by French composers, and it is probable that the French style of ‘If love’s a sweet passion’ made it easier to assimilate into this context than other Purcell songs might have been. Thus, it is not a representative example, but rather serves to elucidate more general processes of musical transfer in the early modern period. https://about.me/namadejigas Henry Purcell (1659-1695) The Fairy Queen"If love's a sweet passion"Veronique Gens, sopranoLes artes florissants, dir. / Ah! By the time of Boyer’s death in in 1729 The Compleat French-Master had reached its 10th edition.36 It continued to be reprinted throughout the 18th century, and was widely disseminated in the rest of Europe and North America. Unlike much English vocal music, it traversed the physical, cultural and linguistic barriers of the North Sea and English Channel to appear in a Dutch manuscript songbook now in the Finspång Collection in the public library of Norrköping, Sweden. They present the song with correct musical notation and unaltered lyrics, or ‘mock’ lyrics drawing heavily on the original text. Ms. 39569), copied by his father Charles, also has an instructional element to it. Corp, ‘The exiled court’, p.220; John Abell, A Collection of Songs, in Several Languages (London: William Pearson, 1701). Nevertheless, the extensive adaptation of ‘If love’s a sweet passion’ indicates that its dissemination was facilitated by translation, and by the mediation of go-betweens such as Boyer and Abell. If it does take an interest, it is likely to bring its own practices, tastes and prejudices to bear on whatever it imports. La direction est assurée par JEAN MICHEL QUELIN (contact chorales : Paul Guérin Tél. Each of these had its own infrastructure, conventions and practices, and each required adaptations to the music. A. Owens, ‘You can tell a book by its cover: reflections on format in English music “theory”’, in Music education in the Middle Ages and the Renaissance, ed. There were strong links between England and the Netherlands in the 1690s, through the rule of William III over both countries, that explain the transfer of English music to the Netherlands in general.38 Another possible specific link between the English environments of Purcell and Boyer and the musical milieu of the De Geers in the Netherlands is the Scottish Catholic singer and lutenist John Abell (1653–after 1716). The Finspång collection today contains mainly 17th- and 18th-century songs and instrumental dances, including excerpts from French operas, apparently arranged to be performed by smaller ensembles in intimate contexts. Wood and A. Pinnock, The Works of Henry Purcell 12 (London, 2009), p.xxxvi.
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