Page 78 - (DK) The Classical Music Book - Big Ideas Simply Explained

76 BAROQUE OPERA IN ENGLAND

A musical revival (“The king’s 24 violins”) at
the court of Louis XIV. It played
The creative foundations for for church services and court
England’s music and drama were occasions, performing birthday
in a poor state when Charles II odes by Purcell and others. The
came to the throne in 1660. The post of “Master of the King’s
Puritans had closed London’s Musick” was reinstated with
theatres from around 1642 and, the reappointment of Nicholas
abhorring music in places of Lanier. Foundations such as the
worship, had even disbanded Chapel Royal, which trained
cathedral choirs. Charles’s professional musicians, were
interest in the arts and his also renewed. New theatres
subsequent support for them were opened and thrived,
was part of a wider policy of producing what is now called
encouraging entertainment. Restoration drama—often
As a child, Purcell served as a This influenced music in bawdy comedies—for which
chorister of the Chapel Royal at several ways. Charles created a songs and incidental music
Hampton Court, England, a training royal string orchestra modeled on were required, frequently
ground for young musicians. the Vingt-quatre violons du roy supplied by Purcell himself.

acquired a taste for French and counterpoint, as well as a structural the classical hero of Virgil’s epic
Italian music. Such preferences device by which sections are poem, the Aeneid. Having escaped
influenced aspiring musicians repeatedly built up from a short from the burning city of Troy at the
eager for royal patronage. aria, followed by a chorus, and end of the Trojan War, he had sailed
French influences are noticeable then a dance. The opera included with his followers to North Africa.
from the start of Dido and Aeneas. several dances, a feature common There he woos the Carthaginian
Act One starts with a typical for French and English operas of the queen Dido—a wary widow who
French overture, its slow, stately time. Such dances would no doubt finally submits to his advances.
introduction based on intense have pleased the dancing master, Wicked witches plot against her,
dotted rhythms (which divide Priest, when the opera was staged however, sending an imp in the
the beat between a long note and at his school. likeness of Mercury to call Aeneas
a short one). The second part of Equally noticeable is the impact away to his glorious destiny as the
the overture is fast, using imitative of Italian opera—and specifically of founder of Rome. In despair at his
Didone, another opera about Dido departure, Dido commits suicide.
and Aeneas by Francesco Cavalli. Purcell masterfully employs
Both operas employ a ground bass stirring motifs and deft word-
or passacaglia, in which the bass painting to express the fluctuating
line is repeated throughout with moods that shape the action.
changing melodies and harmonies Throughout the opera’s varied
As poetry is the harmony above it. Purcell uses this to great movements, Purcell’s text and
of words, so music is dramatic effect for two of Dido’s music work together in perfect
that of notes; and as arias, including her lament, which synergy to evoke the necessary
poetry is a rise above comes close to the end of the score emotions of sadness, joy, or the
prose … so is music the and provides a natural climax to evil intent of the witches—music
exaltation of poetry. the whole drama. and poetry “walking hand in hand
Henry Purcell support each other,” an ideal Purcell
Dramatic effects expressed in the dedication of his
As it has survived, Dido and semi-opera Dioclesian (1690).
Aeneas consists of three short His use of melismas—setting
acts telling the story of the arrival one syllable on several notes—is
in ancient Carthage of Aeneas, striking, enhancing the effect of

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