This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which b... more This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative tha... more music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative that risks undermining, or at least simplifying, the achievements of earlier composers by considering their music against later criteria and standards. The Scoring of Early Classical Concertos 1750^1780 thus represents something of a missed opportunity: numerous primary sources are studiously unearthed, but examined only within narrow confines. Nevertheless, it will be a useful volume for those researching longneglected late eighteenth-century instrumental repertories, providing a salutary reminder that concertos from this period were generally small-scale affairs. SIMON P. KEEFE University of Sheffield
This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which b... more This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative tha... more music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative that risks undermining, or at least simplifying, the achievements of earlier composers by considering their music against later criteria and standards. The Scoring of Early Classical Concertos 1750^1780 thus represents something of a missed opportunity: numerous primary sources are studiously unearthed, but examined only within narrow confines. Nevertheless, it will be a useful volume for those researching longneglected late eighteenth-century instrumental repertories, providing a salutary reminder that concertos from this period were generally small-scale affairs. SIMON P. KEEFE University of Sheffield
This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which b... more This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative tha... more music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative that risks undermining, or at least simplifying, the achievements of earlier composers by considering their music against later criteria and standards. The Scoring of Early Classical Concertos 1750^1780 thus represents something of a missed opportunity: numerous primary sources are studiously unearthed, but examined only within narrow confines. Nevertheless, it will be a useful volume for those researching longneglected late eighteenth-century instrumental repertories, providing a salutary reminder that concertos from this period were generally small-scale affairs. SIMON P. KEEFE University of Sheffield
This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which b... more This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative tha... more music, as Maunder implicitly does, is to construct an all-too-familiar teleological narrative that risks undermining, or at least simplifying, the achievements of earlier composers by considering their music against later criteria and standards. The Scoring of Early Classical Concertos 1750^1780 thus represents something of a missed opportunity: numerous primary sources are studiously unearthed, but examined only within narrow confines. Nevertheless, it will be a useful volume for those researching longneglected late eighteenth-century instrumental repertories, providing a salutary reminder that concertos from this period were generally small-scale affairs. SIMON P. KEEFE University of Sheffield
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