By Charles Hubert Hastings Parry
In 1893, the English composer and director of the Royal collage of song C. Hubert H. Parry released precis of the advance of Medieval and sleek eu song, an outline of ecu track from the center a while to the paintings of Schubert and Brahms. meant for tune scholars, the e-book summarises the main composers, their paintings and the social conditions that surrounded the construction in their song. This bold e-book is split into 12 chronological chapters, from the troubadours and plainsong, via Bach and Handel to the increase of the symphony, Mozart, and the emergence of song as an expression of nationalism. within the book's first half, Parry deftly places track in historic context, discussing England's Wars of the Roses, and the Reformation when it comes to the altering kinds through the 16th century; he then explores the tune of the recovery and the increase of opera.
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Additional info for Summary of the History and Development of Medieval and Modern European Music
In later years he produced a great deal more incidental music, and dances and songs to various plays, such as " The Fairy Queen " (1692), " The Indian Queen" (1692), two parts of " Don Quixote" (1694 and 1695), and " Bonduca " (1695). Purcell died in 1695, and left the country without any composer of sufficient powers to carry on the work he had so well begun, till the advent of Handel in 1710 put a new aspect on affairs. Purcell's style is very individual, and his genius is of a high order ; but the immature state of music at THE PROGRESS OF OPERA.
For though many composers took in hand the form of art known as the Singspiel, and though Reinhard Reiser (1673—1739) produced no less than 116 operas, mostly for his Theatre in Hamburg, no one was able to maintain a characteristically German quality of work, and in the next generation opera in Germany fell under the spell of the Italian style. In Italy the highest position among opera composers at this time was held by the great Alessandro Scarlatti (1659— 1725). He was a pupil of Carissimi, and carried on the artistic traditions of the line of art he represented.
The former stands at the head of the modern composers who study effect more than art; the latter at the head of those who study art more than effect. Monteverde ostentatiously rejected the traditions of his predecessors, to leave himself free to carry out his dramatic ideals. Carissimi endeavoured to make use of the accumulated wisdom of earlier generations to guide him to the fittest artistic expression of his musical ideas. The traditions of Monteverde were handed on to his pupil Cavalli (1599-1676), who became the foremost operatic composer of his time; and by him they were introduced into France, whither his great reputation had penetrated.