Six English Cantatas After the Italian Manner. [Score]
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- SIGNED
- London: J: Walsh servant in Ordinary to his Britanick Majesty, at ye Harp & Hoboy in Katherine Street, near Somerset House in ye Strand,, 1716
London: J: Walsh servant in Ordinary to his Britanick Majesty, at ye Harp & Hoboy in Katherine Street, near Somerset House in ye Strand, & J: Hare at ye Viol & Flute in Cornhill near the Royall Exchange, 1716. Folio. Contemporary leather-backed marbled boards with manuscript title label to upper. 1f. (recto engraved passepartout title, verso blank), 1f. (recto dedication, verso blank), 28 pp. + 28 blanks interleaved. Engraved.
Scored for solo voice and figured bass, with text by John Hughes, William Congreve, and Matthew Prior.
The elaborately engraved title incorporates a flute, recorder, bassoon, trumpet, violin, lute, horticultural and architectural motifs, an open score with several bars of recitative scored for voice and basso continuo, without text, and the quotation "Non ante vulgatas per Artes / Verba loquor Socianda Chordis."
Binding quite worn, rubbed, and bumped. Moderate browning, foxing, and small stains; inner margins reinforced with paper; small binder's holes. First Edition. Smith 495, p. 144. BUC p. 358. RISM G233 and GG233 (4 copies in the U.S., at the University of California, Berkeley; the Eastman School of Music; the Library of Congress; and Harvard).
Walsh used this much-admired passepartout title with altered titling for a number of his publications.
Galliard, a German composer and oboist, active in England, "certainly played a significant role in London's musical life in the first half of the 18th century. He was a founder-member of both the Academy of Vocal (later Ancient) Music in 1726 and the Royal Society of Musicians in 1738, directing the first performance of the former. His translation of Tosi's singing manual is very felicitous, and he added some intelligent notes; he had known Tosi in London earlier in the century. Burney wrote of Galliard's music, ‘I never saw more correctness or less originality … Dr. Pepusch always excepted’, but he was rather more generous elsewhere in his History, and both he and Fiske recognized Galliard and Pepusch as the leading composers of English theatre music before the 1730s. Charles Didbin thought Galliard had ‘considerable genius’, and if Dr Kitchener is to be believed, Handel in old age told the youthful Samuel Arnold that he had so high an opinion of Calypso and Telemachus that he would sooner have composed it than any of his own operas. The story must have become distorted in the telling, but Handel surely expressed admiration in some degree." Roger Fiske, revised by Richard G. King in Grove Music Online.
Scored for solo voice and figured bass, with text by John Hughes, William Congreve, and Matthew Prior.
The elaborately engraved title incorporates a flute, recorder, bassoon, trumpet, violin, lute, horticultural and architectural motifs, an open score with several bars of recitative scored for voice and basso continuo, without text, and the quotation "Non ante vulgatas per Artes / Verba loquor Socianda Chordis."
Binding quite worn, rubbed, and bumped. Moderate browning, foxing, and small stains; inner margins reinforced with paper; small binder's holes. First Edition. Smith 495, p. 144. BUC p. 358. RISM G233 and GG233 (4 copies in the U.S., at the University of California, Berkeley; the Eastman School of Music; the Library of Congress; and Harvard).
Walsh used this much-admired passepartout title with altered titling for a number of his publications.
Galliard, a German composer and oboist, active in England, "certainly played a significant role in London's musical life in the first half of the 18th century. He was a founder-member of both the Academy of Vocal (later Ancient) Music in 1726 and the Royal Society of Musicians in 1738, directing the first performance of the former. His translation of Tosi's singing manual is very felicitous, and he added some intelligent notes; he had known Tosi in London earlier in the century. Burney wrote of Galliard's music, ‘I never saw more correctness or less originality … Dr. Pepusch always excepted’, but he was rather more generous elsewhere in his History, and both he and Fiske recognized Galliard and Pepusch as the leading composers of English theatre music before the 1730s. Charles Didbin thought Galliard had ‘considerable genius’, and if Dr Kitchener is to be believed, Handel in old age told the youthful Samuel Arnold that he had so high an opinion of Calypso and Telemachus that he would sooner have composed it than any of his own operas. The story must have become distorted in the telling, but Handel surely expressed admiration in some degree." Roger Fiske, revised by Richard G. King in Grove Music Online.