henry purcell if love's a sweet passion

 

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. The introvert reflexion on a tentative and confusing romantic experience becomes a panegyric of love and beauty with an underlying narrative. James Newton Howard: 01:31 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. Henry Purcell, Some Select Songs as They Are Sung in The Fairy Queen. See for example the second copy of ‘The young lover’s enquiry’ in Cambridge, Magdalene College, Pepys Ballads 5.174v. It is nevertheless highly singable, which perhaps partly explains its enduring popularity. The only known copy of this book survives in the Finspång collection, again suggesting some connection between the De Geers and Abell. This pitch change is to establish her emotion of “torment” and sorrow. This engraving is preserved in the spurious anthology Joyful Cuckoldom (London, British Library, call no. The ballad format stimulated oral culture and renditions of the song that did not require musical notation. conductor: Ottavio Dantone) and see the artwork, lyrics and similar artists. 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. Qu’un peu d’esperance, me feroit grand bien. The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music. Another engraving transmits the melody of ‘If love’s a sweet passion’ together with the ‘mock’ text ‘If wine be a cordial’. Set to Musick, By Mr. Henry Purcell (London: Printed by J. Heptinstall, for the Author; and are to be Sold by John Carr, at the Inner-Temple Gate near Temple-Barr, by Henry Playford at his Shop in the Temple, and the Theatre in Dorset-Garden, 1692). in the penultimate phrase (see ex.1). Je soûpire’, sung to ‘If love’s a sweet passion’, ‘L’amour nous engâge’, sung to ‘If love’s a sweet passion’. See also Hunter, ‘English opera and song books’, pp.3, 96. 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? Project 'Fathers of Musicke' with students from the Early Music Department of the Royal Conservatory The Hague. Francis Horton’s collection of 103 theatre songs in a lavish, gold-tooled binding is an example of this latter use.15, Songs from The Fairy Queen published as single-sheet engravings, ‘A song in the New Opera call’d, The Faiery Queen. 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) Decembre. First Trebles’, indicating that there was at least some manuscript dissemination of Purcell’s music abroad. 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. Similarly, the issue at stake in Playford’s claim that single-sheet songs hinder ‘good Collections’, as well as in Purcell’s oft-cited complaint that his songs from The Prophetess (1690) were ‘already common’ by the time the score was published in 1691, seems to be profit rather than cultural snobbery.21 This should perhaps caution scholars against underestimating the role of cheap printed music in the dissemination of theatre tunes: broadside ballads, along with their accompanying infrastructure and conventions of use—hawkers performing them on markets and street corners, people singing collectively in taverns and on workshop floors, gentlemen collecting and pasting into albums—clearly played a large part in making their associated tunes known in different layers of society. If Love's a Sweet Passion. Search for other works by this author on: © The Author(s) 2020. I am grateful to Rudolf Rasch for this information (private correspondence with the author, 23 January 2014). This sheet contains the solo section of the song, and transmits only the lyrics and melody line (unlike some later Cross sheets, which are vocal scores with accompaniment, and occasionally instrumental obbligatos). 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). Coeurs insensibles’ (Lully, from, ‘Suivez l’amour c’est lui qui nous mene’ (Lully, from, ‘Quand Cloris prend plaisir’ (unidentified), ‘Cessez de Craindre les Alarmes’ (unidentified), ‘Ah! 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. 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. I nuance this claim by arguing that such exchanges were dependent on translation and mediation by musicians such as John Abell (1653–after 1716) or translators such as Abel Boyer (?1667–1729). Christopher Marsh has argued that apart from the most popular melodies, which could be used for any type of ballad, most tunes were typically used for ballads expressing similar themes.9 The variety of ballads sung to ‘If love’s a sweet passion’, therefore, and the fact that none after ‘The Young Lover’s Enquiry’ exploited the oxymoronic bitter-sweetness of the original song, together suggest that ‘If love’s a sweet passion’ was one of the most popular ballad tunes of the 1690s.10, The 1690s also witnessed the beginnings of the production and marketing of the single-sheet song prints that would irritate music publishers for many decades to come. This appears to have been a relatively common way for balladeers to attempt to profit from the songs in a new play: several of Purcell’s songs were transformed into broadside ballads in the 1680s and 90s (see Table 2). Roger’s editions suggest that processes of translation and adaptation were also involved for instrumental music: Ayres for the Theatre was called Recueil d’airs a 4 parties tirez des opera tragédies & comedies de Monsr. Furthermore, several items in Finspång 9096:7 feature dates, probably of concert performances, which suggest that the manuscript was created in a local musical context. Les plaisirs effacent les plus grands tourments. P. Holman (Alston, Cumbria, 1999). Language: English Instruments: A cappella . London, British Library, k.5.b.15, fol.12r. 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. Composes par Jean Abell Anglois, advertised by Estienne Roger in Amsterdam as Les Airs d’Abel pour les concerts du Doule in several catalogues between 1697 and at least 1744.43 The book contains three songs—‘Soyons toujours inéxorable’ (pp.1–2), ‘Je croyois que la colere’ (pp.3–4) and Quoyque l’amour paroisse’ (pp.5–8)—is printed in moveable type, and has no imprint. 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. Yet so charming the glass is, so deep is the quart, That at once it both drowns and enlivens my heart.16. k.7.i.2. This, I argue, required processes of mediation and adaptation that were different from, and yet interrelated with, the song’s English popularization. ‘If love’s a sweet passion’ was published in a variety of formats (Table 1). Read about Act III: If love's a sweet passion from Henry Purcell's The Fairy Queen and see the artwork, lyrics and similar artists. 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). A. McShane, ‘Ballads and broadsides’, in The Oxford history of popular print culture, I: Cheap print in Britain and Ireland to 1660, ed. 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). known.. AQ Q  bit - pas- ter, sion- oh ate  tell si -  me, lence,  whence I Â. comes Concert at the Dorpskerk, de Glind. The fact that the appendix to The Compleat French-Master supplies musical notation (melody without accompaniment, printed in moveable type) for the first eight songs, but simply gives the names of the tunes for the last four, illustrates the importance of oral/aural transmission even among social groups who could be expected to read musical notation. First published: Description: From The Fairy-Queen, Act III. 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.