Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 11
Book Description
An Ode, perform'd on St. Cecilia's Day, 1717 ... And a mad dialogue by Mr. Leveridge and Mrs. Thurmond, etc
Author: An Ode, Perform'd on St. Cecilia's Day, 1717
Author: General Catalogue of Printed Books to 1955
Author: British Museum. Department of Printed BooksPublisher:
ISBN:
Category : English imprints
Languages : en
Pages : 1292
Book Description
General Catalogue of Printed Books
Author: British Museum. Dept. of Printed BooksPublisher:
ISBN:
Category : English imprints
Languages : en
Pages :
Book Description
The British Library General Catalogue of Printed Books to 1975
Author: British Library (London)Publisher:
ISBN:
Category : Reference
Languages : en
Pages : 536
Book Description
General Catalogue of Printed Books
Author: British Museum. Department of Printed BooksPublisher:
ISBN:
Category : English literature
Languages : en
Pages : 612
Book Description
Six English Cantatas
Author: John Christopher PepuschPublisher:
ISBN:
Category : Cantatas, Secular
Languages : en
Pages : 34
Book Description
Two Sonatas
Author: Jean-Baptiste LoeilletPublisher: Alfred Music
ISBN: 9781457471049
Category : Music
Languages : en
Pages : 48
Book Description
A Violin duet with piano accompaniment, composed by Jean-Baptiste Loeillet.
Fresh from the Farm 6pk
Author: RigbyHenry Purcell and the London Stage
Author: C. A. PricePublisher: Cambridge University Press
ISBN: 9780521238311
Category : Music
Languages : en
Pages : 414
Book Description
This book was the first comprehensive survey of Purcell's dramatic music. It is concerned as much with the London theatre world - playhouses, poets, actors, singers, producers - as with the music itself. Purcell wrote music for more than fifty plays of various types, most of them produced at the Theatre Royal, Drury Lane, between 1690 and 1695. The songs, dialogues, choruses, act tunes and larger musical scenes are often active participants in the spoken drama, not simply grafted-on entertainments. The extraordinary semi-operas - Dioclesian, King Arthur, and The Fairy-Queen - are placed in the context of a theatre that thrived mainly on plays that, though less lavish, were no less musical. The traditional picture of a composer trapped within a degraded musical society, his natural predilection for opera ignored, is redrawn to show a consummate dramatist exploiting a remarkably musical theatre.