"Hail! Bright Cecilia" (Z.328), ook bekend as Ode to St. Cecilia, is in 1692 deur Henry Purcell gekomponeer op 'n teks deur die Ierse digter Nicholas Brady ter ere van die feesdag van Sint Cecilia, beskermdame van musici en kunstenaars.
Die jaarlikse viering van hierdie heilige se feesdag (22 November) is in 1683 georganiseer deur die Musical Society of London, 'n groep musici en musiekliefhebbers. Purcell het die werk vir daardie eerste fees gekomponeer: Welcome to all the pleasures (Z.339); hy het ook verskeie ander Ceciliaanse werke vir dié feesdag gekomponeer, waarvan Hail! Bright Cecilia die bekendste is. Die eerste uitvoering op 22 September 1692 by Stationers' Hall was só 'n groot sukses dat die gehoor op 'n tweede uitvoering aangedring het.The Gentleman's Journal, or Monthly Miscellany, November 1692, aangehaal in Rimbault's Edition, Londen: Musical Antiquarian Society Publications, 1848, bl. 2.
Daar is al voorgestel dat Purcell self die kontratenoorparty by die eerste uitvoering gesing het. Hoewel hy 'n opgeleide sanger was, blyk die idee dat hy by hierdie première gesing het 'n misverstand van 'n kontemporêre resensie te wees.
Teks Brady se gedig is gebaseer op John Dryden se "A song for St. Cecilia's Day" van 1687. Na aanleiding van Dryden besing Brady die ontstaan en persoonlikheid van 'n reeks musiekinstrumente. Hy sinspeel ook op die idee dat Cecilia die orrel uitgevind het. Purcell se musiek ondersteun die teks deur klem te lê op die kleure en dramatiese moontlikhede van die barokorkes.
Musiek
Orkestrasie Die teks is vol verwysings na musiekinstrumente, en dit word weerspieël in die verskeidenheid vokale soliste en obligaatinstrumente, strykers en basso continuo.Hail! bright Cecilia and Who can from joy refrain? – Introduction, deur Robert King, Hyperion Records, 2010 "Hark, each tree" is byvoorbeeld 'n duet tussen aan die een kant sopraan- en bassolis, en aan die ander kant tussen blokfluite en viole. Dié instrumente word in die teks genoem: "box and fir" (Afrikaans: buks- en denne- of sparhout) verwys na die hout waarvan die instrumente gemaak is. Purcell het egter nie altyd getrou aan die teks gebly nie: Hy het byvoorbeeld die oorlogagtige musiek in "The fife and all the harmony of war" vir twee kopertrompette en koperketeltromme gekompneer, pleks van die dwarsfluit wat deur Brady genoem word.
Musikale strukture Die onderskeie arias is op 'n verskeidenheid van dansvorme geskoei.Purcell: Odes & Funeral Music [CD]. Inligting in notas. Virgin Classics Ltd, 7243 5 61582 2 1 "Hark, each tree" is 'n sarabande en "Thou tun'st this world" 'n menuet.
Die komposisietegnieke wat deur Purcell gebruik word, sluit kontrapunt en die grondbas in. "Hark, each tree" is byvoorbeeld 'n duet op 'n grondbas, terwyl "In vain the am'rous flute" op 'n passacaglia-bas gebaseer is.
Struktuur, instrumentasie en teks duimnael|Orazio Gentileschi en Giovanni Lanfranco, Saint Cecilia and an Angel, c. 1617–1618 en c. 1621–1627, National Gallery of Art Die werk bestaan uit 13 bewegings:
Simfonie (ouverture): Inleiding—Canzona—Adagio—Allegro—Grave—Allegro (herhaling) Resitatief (bas) en koor: "Hail! Bright Cecilia" Duet (alt en bas): "Hark! Hark! each tree" Aira (kontratenor): "'Tis nature' voice" Koor: "Soul of the world" Aria (sopraan) en koor: "Thou tun'st this world" Trio (alt, tenoor en bas): "What that sub,ime celestial lay" Aria (bas): "Wondrous machine!" Aria (kontratenoor): "The airy violin" Duet (kontratenoor en tenoor): "In vain the am'rous flute" Aria (kontratenor): "The fife and all the harmony" Duet (twee basse): "Let these amongst themselves contest" Koor: "Hail! Bright Cecilia, hail to thee"
NommerTeksInstrumenteVokale kragte1Ouverture 2 blokfluite (tenoor, ook in die diskant gespeel) 1 basblokfluit 2 hobo's 1 fagot 2 trompette (in D) Keteltromme (in D en A) Viole (eerste en tweede) Altviole Continuo Geen2Hail! Bright Cecilia, Hail! fill ev'ry Heart With Love of thee and thy Celestial Art;
That thine and Musick's Sacred Love
May make the British Forest prove As Famous as Dodona's Vocal Grove. 2 hobo's Fagot Viole (eerste en tweede) Altviole Continuo Resitatief: bas (solo) SATB-koor3Hark! hark! each Tree its silence breaks, The Box and Fir to talk begin!
This in the sprightly Violin
That in the Flute distinctly speaks!
'Twas Sympathy their list'ning Brethren drew,
When to the Thracian Lyre with leafy Wings they flew. 2 blokfluite Basblokfluit Fagot Viole (eerste en tweede) Continuo Duet: alt en bas 4'Tis Natures's Voice; thro' all the moving Wood Of Creatures understood:
The Universal Tongue to none
Of all her num'rous Race unknown!
From her it learnt the mighty Art
To court the Ear or strike the Heart:
At once the Passions to express and move;
We hear, and straight we grieve or hate, rejoice or love:
In unseen Chains it does the Fancy bind;
At once it charms the Sense and captivates the Mind. Continuo Aria: kontratenoor5Soul of the World! Inspir'd by thee, The jarring Seeds of Matter did agree,
Thou didst the scatter'd Atoms bind,
Which, by thy Laws of true proportion join'd,
Made up of various Parts one perfect Harmony. 2 hobo's Fagot Viole (eerste en tweede) Altviole Continuo SATB-koor6Thou tun'st this World below, the Spheres above, Who in the Heavenly Round to their own Music move. 2 hobo's Fagot Viole (eerste en tweede) Altviole Continuo Aria: sopraan SATB-koor7With that sublime Celestial Lay Can any Earthly Sounds compare?
If any Earthly Music dare,
The noble Organ may.
From Heav'n its wondrous Notes were giv'n,
(Cecilia oft convers'd with Heaven,)
Some Angel of the Sacred Choire
Did with his Breath the Pipes inspire;
And of their Notes above the just Resemblance gave,
Brisk without Lightness, without Dulness Grave. Continuo Trio: alt, tenoor en bas8Wondrous Machine! To thee the Warbling Lute,
Though us'd to Conquest, must be forc'd to yield:
With thee unable to dispute. 2 hobo's Fagot Continuo Aria: Bas9The Airy Violin And lofty Viol quit the Field; In vain they tune their speaking Strings
To court the cruel Fair, or praise Victorious Kings.
Whilst all thy consecrated Lays Are to more noble Uses bent;
And every grateful Note to Heav'n repays
The Melody it lent. Solo viole (eerste en tweede) Continuo Aria: Kontratenoor10In vain the Am'rous Flute and soft Guitarr, Jointly labour to inspire
Wanton Heat and loose Desire;
Whilst thy chaste Airs do gentle move
Seraphic Flames and Heav'nly Love. 2 blokfluite (in diskant) Basblokfluit Viole (eerste en tweede) Continuo Duet: kontratenoor en tenoor11The Fife and all the Harmony of War, In vain attempt the Passions to alarm,
Which thy commanding Sounds compose and charm. 2 trompette (in D) Keteltromme (in D en A) Continuo Aria: kontratenoor12Let these amongst themselves contest, Which can discharge its single Duty best.
Thou summ'st their diff'ring Graces up in One,
And art a Consort of them All within thy Self alone. Continuo Duet: Bas en bas13Hail! Bright Cecilia, Hail to thee! Great Patroness of Us and Harmony!
Who, whilst among the Choir above
Thou dost thy former Skill improve,
With Rapture of Delight dost see Thy Favourite Art Make up a Part Of infinite Felicity.
Hail! Bright Cecilia, Hail to thee! Great Patroness of Us and Harmony! 2 blokfluite (tenoor, ook in die diskant gespeel) 1 basblokfluit 2 hobo's 1 fagot 2 trompette (in D) Keteltromme (in D en A) Viole (eerste en tweede) Altviole ContinuoSSAATB-koor
Publikasies Die werk is verskeie kere gepubliseer, waarvan die bekendstes insluit:
Manuskrip (1765), gekopieer deur Robert Pindar Musical Antiquarian Society, Londen (1848), geredigeer deur Edward F. Rimbault Novello, Ewer & Co., Londen (1897), geredigeer deur John A. Fuller-Maitland Michael A. Seaton (redigeerder) (2024)
Verwysings
Kategorie:Klassieke musiek