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Old Scores and New Readings - Discussions on Music & Certain Musicians by John F. Runciman
page 29 of 163 (17%)
instrument; and as more can be got out of the voice than out of any
other instrument, and the tip-top song-writers got all out that could
be got out, it follows that Purcell is below them. But only the very
greatest of them have beaten him, and he often, by sheer perfection of
phrase, runs them very close. Still, Mozart, Bach, and Handel do move
us more profoundly. And an odd demonstration that Purcell the
instrumental writer is almost above Purcell the composer for the
voice, is that in such songs as "Halcyon Days" (in "The Tempest") the
same phrases are perhaps less grateful on the voice than when repeated
by the instrument. The phrase "That used to lull thee in thy sleep"
(in "The Indian Queen") is divine when sung, but how thrilling is its
touching expressiveness, how it seems to speak when the 'cellos repeat
it! There are, of course, truly vocal melodies in Purcell (as there
are in Beethoven and Berlioz, who also were not great writers for the
voice), and some of them might almost be Mozart's. The only difference
that may be felt between "While joys celestial" ("Cecilia Ode" of
1683) and a Mozart song, is that in Mozart one gets the frequent
human touch, and in Purcell the frequent suggestion of the free winds
and scented blossoms. The various scattered songs, such as "Mad Tom"
(which is possibly not Purcell's at all) or "Mad Bess" (which
certainly is), I have no room to discuss; but I may remark that the
madness was merely an excuse for exhibiting a series of passions in
what was reckoned at the time a natural manner. Quite possibly it was
then thought that in a spoken play only mad persons should sing, just
as Wagner insists that in music-drama only mad persons should speak;
and as a good deal of singing was required, there were a good many mad
parts. Probably Purcell would have treated all Wagner's characters,
and all Berlioz's, as utterly and irretrievably mad. Nor have I space
to discuss his instrumental music and his instrumentation, but must
refer shortly to the fact that the overtures to the plays are equal to
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