Persella is brief

And he will reward the savage from the darkness of the cave by the law of faith. This is followed by a pathetic image of the Anglican church, personified in the image of Eusebia; She is horrified by the dangers that the hero is subjected to for her and exclaims in anxiety that providence should not allow the king to continue the campaign. But Glory Voice, he calls: “The great sovereign, forward!

He leads to valor; fearless sovereign, forward! Among the works dedicated to the Queen, you can mention the Oda for the soloist and the two -voice choir to the words of the Derphy” on the golden shining “High On a Throne of Glittering Or”, whose text is published in the same place. year, contains many flattering comparisons inherited from the authors of Elizabethan times. Music to Diocletian was the first major work of Pirsella on a professional scene.

The production brought him glory. In a letter preceding the publication of Amphitrion, Dradyden wrote: “Everything that was not enough for my work [“ Amphitrion ”] was more than full of magnificent composition of Mr. Pirsella, in the person of which we finally gained an English composer equal to the best masters abroad. In any case, this is my opinion about him, which developed after the successful presentation of the last opera ["Diocletian"] and after my personal acquaintance with him, which took place during his work on music to three songs from "Amphitrion".

The premiere of "Diocletiana", which was perfectly delivered on the dorset-Garden stage with a choreography of the drafts, took place under the sign of the Irish campaign. The prologue specially written by Dradeen contained satirical attacks on this campaign. He ended with an appeal to the ladies who were called to visit the theater while there were no "valiant knights." The prologue was read at the premiere, but political allusions and too obvious hints of the Female Regency 57 served as a reason for its ban.

Since the publication of the text of the play was advertised in the "London newspaper" from June, it is clear that the performance took place shortly before William arrived in Ireland. Therefore, the audience was unlikely to be struck by the warlike spirit of the play, and the triumphal songs and choirs decorated with recruiting fanfares were probably perceived as an anticipation of close victory.

The music was so successful that Persell, who followed the example of Grabu, who published his opera Albion and Albania, Albion and Albanius, also decided to print the whole score, which was a brave enterprise. The subscription was announced in July, but the work was completed only by the beginning of March next year. The composer apologized for the delay, partially explained by the difficulties that one of his two publishers faced, and assured the buyers that he carefully straightened the proof.

In dedication to the Duke of Somersetsky, he included brief criticisms addressed to modern music: “Music and poetry have always been recognized by sisters who walk hand in hand, supporting each other. Just as poetry is the harmony of words, just like the music is the harmony of sounds; and how poetry towers over prose and rhetoric, so the apotheosis of the poetry is beautiful and vibrantly; but both are beautiful and vice.

Truly there is nothing more beautiful than their union, for then there is no one of the qualities that make up their perfection: connecting together, they act as the mind and beauty embodied in one person. In our country, poetry and painting have already come to perfection; The music is still; did not reach its maturity; As a child who gives hopes, she only portends what she can become in England when her masters will gain more self -confidence.

Now she is studying with Italians, the greatest artists, and adopts some of the French melodies in order to gain the necessary lightness and grace.

Being far from the solar countries, we developed much later than our neighbors, and should be happy that we gradually shake off our barbarism. Our century, apparently, is ready to improve the wild random fantasy from sober and clear composition. "After that, he goes to assurances in his reverence, asks for forgiveness for his ambition, and mentions his very significant work as a" trifle ", emphasizing the significance of the support, which he was given a well -ian patron.

They are not of interest to the modern reader, but the critical statement that we had just brought is unusually important. Later we will consider its true meaning. In the meantime, we confine ourselves to the remark that the optimistic prediction of Pirsella regarding the future English music was not fully justified. The Italian influence that he welcomed really became more and more noticeable, and English music joined European sophistication; But the composers, who were the most prominent representatives of the new style, turned out to be dwarfs compared to the giant figure of Handel.

This is a curious example of how to create an original genius can refute, it would seem, reasonable assumptions.Of the songs to “Diocletian”, especially one - “what to do to express love” “What Shall I Do Show How Much I Love Her” - I immediately won and then retained extraordinary popularity for many years. When, almost forty years later, John Gay put his “Opera of the Beggars” 58, he used this melody in the song “The Flows of Beautiful Girls” is like “Virgins Are Like the Fair Flowers in Its Lustre”; Thus, the song is still familiar today by hundreds of people who know Diocletian only by name.

As we have already seen, Dradyden was amazed at Pursella's achievements. Before that, he was of low opinion about the English musicians. Five years earlier, after the production of his opera Albion and Albania, which became the first and only attempt to create an English opera according to the French model, Dradyden in the preface to the opera publicly highly appreciated her composer - Louis Grabu, who "so correctly expressed my Dradeen.

Now he found a composer who could highly appreciate, and expressed his approval, and expressed his approval, and expressed his approval, and expressed his approval, and expressed his approval. Having invited the music for the Amphitrion, our own appreciation of Purcell’s work should probably not depend on the opinion of Dradein: in the end, Dradyden was a poet, and not a musician.

The composer’s pen for the next five years has been accepting Draden's testimony of the “numerous choir of beautiful ladies”, which attended the performance of “Amphitrion” and cordially approved the music, especially evaluating the charming pastoral dialogue between Tirsis and Iris in the second act. Soon after the full score of Diocletian, the full score of Diocletian, Purcell began working on his third congratulatory ode on the birthday of Queen Maria.

It was called "Hello, hello, the morning of Glory" "WelCome, Welcome Glorious Morn" and was executed on April 30. The political situation in the country was still tense. After the fall of Mons, on April 8, he hurried to England, but the next morning after the celebration of his birthday, at five o’clock, he again left for the Netherlands. Queen Maria was again left to rule the country alone.

The author of the aforementioned Oda describes the situation in this way: and the glory of the king will call for a feat: he will create a miracle, pass through the horrors. The troops of his success and winning in the battle will give a god of war with his blessing, while in his homeland the Queen holds the power over the country with a calm hand. Unhappy Mary!

She must have smiled ironically, reading the lines about the "calm hand". Her own assessment of her position sounded completely different. Two years later, in a letter to the wife of Elector Sofia, she admits that "a woman is just the most useless and helpless creature at all times, especially during the war and disasters." The rest of the year Pirsell was engaged in the composition of music for the theater.

His friendship with Dradeen led to cooperation in the work on the heroic patriotic "opera" - in the terminology of that time, this designated the play in which the music was assigned a very significant role. The performance was brilliant success and even more strengthened the reputation of Pirsell in the capital. The text of the play was not new. Both plays were intended for execution in honor of Charles II.

However, the king died when the rehearsals of Albion and Albania were still going on. Naturally, a delay followed. The play was staged in the first year of the reign of Jacob II, but the expected success was upset by the uprising of the Duke of Montmauta. The idea of ​​the King of Arthur was also postponed, and when, finally, the opportunity to set up, times changed.

It is easy to understand that the work, conceived as an expression of the loyal feelings of Charles II, was not quite suitable for William and his wife, especially if we recall the political and religious views of Dradeen, respectively, the author subjected the whole play for moist processing, so that it, as the Dradyden himself in the preface, has become a completely different thing.

He adds: "There are no improvements that I have not provided for by me, which for some time has reached greater perfection in England than ever before, especially going through Mr. Pirsella through the artistic hands of Mr., who composed it so talented that he had nothing to fear except the dark and ignorant public." From the next remark of Draden, it seems that Piercell was far from always treated uncritically to what passed through his "artistic hands".

The poet with some sadness admits that the composition of verses for music requires techniques that are completely different from the technique of pure poetry. But he flatters himself with the hope that "the attentive audience will easily distinguish the songs in which the poet inferior to his [Pirsella] requirements from those in which he followed the laws of poetry, the laws of sound and rhythm of words." There was no need for this modest apology.The lyrics of the King of Arthur does not contain anything that could damage the poetic glory of Draden.

A History of Restoration Dramama. As in the case of Diocletian, the production was consonant with the historical moment. Wilhelm at that time was in Flanders, where he headed the army of the Great Union leading military operations against the French king; And although most of the British were little interested in the victories or defeats of the Great Union, the topic raised in the opera could probably collect an extensive audience.

Arthur, the legendary hero of Britain, is depicted in it valiantly fighting against strangers-Saxes at the climax of the play all the idea of ​​the time and place of action disappears. In heaven, the Order of the Garter appears, the honor performs the patriotic song "St. George, the patron saint of our island" "Saint George, The Patron of Oour Isle", which probably struck the audience at least a few years ago the performance "Cavalcade" "Cavalcade", which aroused emotions from the restrained English public The queen, as we learn from the preface of Draden, got acquainted with the play in the manuscript and "gave her her royal approval." It would be curious to find out what the meek Maria thought about the stormy stage, in which Osmond was trying to seduce Emmeline and which ends with the threat that he confidently uttered in response to an attempt to resist: when you have not been captivated, I will have to resort to strength.

Three other dramatic performances for which Pirusell composed music in the year, less significant. About the play "Cut the Gordian Knot" We do not know anything, even its author is unknown. Her text has never been published; Only Pirsella’s music and obscure hints in the newspaper Gentlemans Jornal "in January of the year, indicating that the play was a comedy, has been preserved.

As an interesting detail, you can indicate the use of the popular Lilliburlerro melody in the bass voice of Zhigi; But what is the connection between this melody and the plot of the play remains a mystery.