Monday, 19 September 2022

REMEMBERING HER MAJESTY, QUEEN ELIZABETH II: THANK YOU FOR YOUR SERVICE / MERCI POUR VOTRE SERVICE


Below: A dedication from Unraveling Musical Myths to the reader of a performance of Music for the Funeral of Queen Mary, set by English composer Henry Purcell for the funeral of his then-Sovereign, Queen Mary II, who succumbed to smallpox in late December of 1694.

It was through the death of Her Majesty that Westminster-born Purcell quite suddenly found himself in charge of music for a royal funeral that had never originally been planned - the late Queen having stipulated that there be no such ceremony of state following her demise. Purcell had been serving as organist at Westminster Abbey at the time of Queen Mary's death.

It was due to the will and wish of the public, who so loved their Monarch, (a feeling shared by modern-day loyalists to our own late Sovereign lady, Her Majesty, Queen Elizabeth II), that a state funeral was scheduled for 5 March, 1695, some three months following Mary's demise.

For the occasion, Purcell composed his Music for the Funeral of Queen Mary and the funeral sentence, Thou knowest, Lord, the secrets of our hearts, which were performed during the occasion alongside works by Thomas Morley and other English composers. 

Purcell had twice previously set music to Thou knowest (from the The Book of Common Prayer, 1549): first in 1672 to complete sentences by fellow English composer Henry Cooke for the latters' funeral, and later, with revisions occurring around 1680). These earlier versions were polyphonic, as was custom at the time. The composers' third version of Thou knowest, as well as his March and Canzona were performed during the funeral service of Queen Mary II. Today, the March, Canzona and the funeral sentence (along with two other sentences set by Purcell, Man that is born of a woman, and In the midst of life we are in death) are often performed together as the composer's Music for the Funeral of Queen Mary (Z. 860).

Recent scholarship suggests that this latest setting may have been an homage by Purcell not only to his late Sovereign, but possibly to the composer Thomas Morley, whose own setting of this particular sentence would later be discovered. It is speculated by some musicologists that Purcell donned an older style to mimic Morley's music, and that this setting was possibly used to complete sentences by the latter composer. The words for this particular version are set mostly in homophony.

With the question of attribution aside, it would be this third version of Thou knowest, which would be performed at subsequent royal funerals, including that of the Queen Mum, and that of her daughter, our late Majesty (and the Queen Mum's namesake), Elizabeth II, which could be heard echoing resoundingly through the walls of the royal church as the former Monarch and Head of State's coffin entered Westminster Abbey on this most sombre day of 19 September 2022. 

Purcell's setting of Thou Knowest would later go on to be performed at the composers' own funeral following his death (believed to be caused by tuberculosis) in November 1695, just a mere eight months since the piece was first performed. He was only 35 at the time of his passing.

Jump to 1:27:53 to hear Purcell's funeral sentence Thou knowest, Lord, the secrets of our hearts (Jean Tubéry conducts La Fenice):

- Rose.

Saturday, 10 September 2022

REGINA MORTUA EST, VIVAT REX CAROLUS! KING CHARLES III's LOVE AFFAIR WITH PARRY

In honor of King Charles III's proclamation as Monarch of the United Kingdom and of the Commonwealth, I dedicate below to his countrymen and women and to the citizens of the Territories a piece of special historical significance - not only to the British Crown but to King Charles himself - the setting of the choral introit "I was Glad" set by Sir Hubert Hastings Parry. 

The new sovereign has long been vocal of his deep admiration for the choral piece and for its composer - whom he often refers to as his favorite, and as somewhat of an 'unsung hero' of sorts in the realm of British classical music. His Majesty first heard Parry's anthem performed at the tender age of four whilst the then-Prince bore witness to the coronation of his late mother, the former Queen and Head of State, Elizabeth II in 1953. 

Parry's musical setting of Psalm 122 (verses 1–3, 6 and 7)[1] has long been embedded in history of the House of Windsor (fr. Saxe-Coburg and Gotha): Parry originally wrote his version of the anthem for the coronation of Charles' great-great-grandfather, Edward VII in 1902, and it has been used in every coronation since, even making an appearance at the wedding of Prince William and Catherine 'Kate' Middleton at Westminster Abbey in 2011

Speaking of the occasion in the documentary The Prince and the Composer: A Film about Hubert Parry by HRH The Prince of Wales (presented by Charles himself) the royal remarked:


 "If you're coming into the abbey and you have to walk up the aisle, and there are an awful lot of people peering at you, some pieces of music literally do waft you up the aisle and it's so marvellous that you're sort of carried along on this wave of music. And that's what I think is so brilliant about this piece, giving you all those tingles up the spine and tears in the eyes...It has an extraordinary capacity to lift the spirits, this particular piece of music. It's timeless, really, isn't it?" 


Because of its association with the coronations of British monarchs, the "vivat(s)" section of the score (Latin for "Long live..." (the King/Queen)) was/is forbidden to be sung by the Queen's/King's scholars of Westminster School if the anthem is not performed during a coronation. Instead, the choir is simply instructed to bypass this section (the redacted version of Parry's anthem was famously heard at the aforementioned nuptials of Prince William and Catherine Middleton). 

In 1902, Parry wrote vivats for both King Edward and Queen Alexandria: "Vivat Regina Alexandra, vivat Regina...vivat Rex Eduardus.." ("Long live King Edward...Long live Queen Alexandra.") 

For Elizabeth II's coronation, there was only one vivat, in custom with British tradition, in which the husband of a Queen may not be styled as King as he has not inherited the throne (while the wife of a King, however, may be styled Queen Consort). It is this truncated version that a young Charles heard during the coronation of his "darling mama" from his seat in the gallery alongside the Queen Mum and his Auntie (Princess Margaret). Cries of "Vivat Regina! Vivat Regina Elizabetha!" (Long live the Queen! Long Live Queen Elizabeth!) would have echoed throughout Westminster Abbey and into the future King's ears.

Above: Vivat for Queen Elizabeth II, performed during Her Majesty's coronation in 1953 (begins at 3:08)

This custom means that King Charles' Queen Consort, Camilla, could be included in a new vivat, in addition to the King's (which will likely be sung as "Vivat Rex Carolus"). 

As Camilla is already the female equivalent of the Roman Camillus, she may be referred to as Regina Camilla, however this - and her inclusion in the revised anthem - remains to be seen, should His Majesty opt to carry on in the tradition of his royal predecessors by selecting the anthem of his favorite composer for his own coronation.

Below: Vivat for Queen Elizabeth II, with score, performed during Her Majesty's coronation in 1953 (Vivat begins at 3:40)


Footnotes:  

[1]from the psalter found in the 1662 Book of Common Prayer.

 -Rose.

Thursday, 8 September 2022

IN MEMORIAM: QUEEN ELIZABETH II (APRIL 21, 1926 - SEPTEMBER 8, 2022)

 

Above: a touching tribute to Her Majesty, Queen Elizabeth II by Sky News 

As millions of Britons, citizens of the Commonwealth, and others around the globe mourn the loss of Elizabeth II, I have come to reflect upon my former Head of State with a sense of bittersweet splendour - pained that Her Majesty is no longer with us, yet, altogether marveled by the memories of her glorious reign, stamina, and poise. 

For as long as I have lived, Queen Elizabeth II has been somewhat omnipresent in my life. I fancied myself quite the numismatist and philatelist in my most tender years - I am a citizen born into the commonwealth twice over: as a Canadian by birth, and as the daughter of an immigrant from the then-commonwealth state of Hong Kong. 

It was during these formative years that my young mind became fascinated by the striking portraits of our Head of State, ever evolving throughout those very impressionable phases of my own life: from youth, to teenagehood, to womanhood. I saw her increasingly aging visage everywhere throughout the years as my past times seamlessly moulded themselves into a deep passion for history - both Canadian, and British. 

It was the profile, and the face of Elizabeth, embossed on the faces of coins and printed on the surfaces of stamps from all over the world, that piqued my curiosity. I wanted to know more about this woman who seemed to dominate swathes of nations of varying tongues: who she was, and what she meant to my country and to our British cousins. That curiosity led me down the path of studying Canadian and European history, and later - and perhaps most naturally - to the music that helped pave the path toward our shared freedoms, as our ancestors fought in battle to create, in my humble opinion, one of - if not the - greatest nation in the world. As I became more embedded in my studies, I both marveled over and embraced the legacies of the composers who performed in battle long before Elizabeth's conception. I learned of the propagandists and musically inclined courtiers who so crucially and cleverly manipulated, supported, and volleyed their way through the upper echelons of the British state. In many ways, it was an early lesson in psychology and an invaluable teaching of the cunning use (and misuse) of music for purposes of political persuasion and domination.

Though Great Britain's distant past may be marred by undeniable bloodshed, where kings were made kings on the battlefield, and men became men through daring and chivalric conquests, the reign and life of Elizabeth was different. Having both served in, and survived the Second World War and having acceded to the throne whilst arguably still a child herself - at the tender age of 25 - her role was that of a peaceful monarch: a consistently present and poised ruler who never appeared to take for granted the rich (albeit often gritty) historical past which would end up making her unprecedented 70-year long reign possible. 

Her Majesty shunned the methods of her royal predecessors, opting instead to shy away from public conflict by holding close to her breast matters of both personal and political affairs. She put forward a mask of neutrality in an ever changing, not always friendly world. 

Music and musicians of (and associated with) the court became less thought of as mere political pawns but rather allowed to triumph in their own right: during her reign, the so-called 'Land without Music' - England's status as a musical mecca having waned in popularity since the triumphant days of the English Renaissance - once more became resplendent as the likes of Ralph Vaughan Williams, Arnold Bax, William Walton, and Edward Elgar introduced to a new generation a majestic, and regal shift from the ever embellished icons of English composers past (men like Thomas Tallis, William Byrd, Orlando Gibbons, Henry Purcell, and German-turned-naturalised citizen, George Frederic Handel). 

Full of fanfare, stateliness, pomp and circumstance, swathes of musicians (and even non-musicians) the world over would soon recognize the sound of British royalty in the new Elizabethan age, and envision in their minds images of the resplendent Queen in her chariot, as regal and dignified as the compositions which flourished throughout her reign.

Above: Vaughan Williams' grand ceremonial arrangement of the sixteenth-century hymn "The Old Hundredth", performed at the coronation of Queen Elizabeth II, 2 June 1953 Westminster Abbey, London (preceded by fanfare)

To the very end, Her Majesty remained poised even throughout the dishonours inflicted upon her by those who attempted to corrupt a legacy of leadership - one in which our beloved Sovereign had managed to rule for some seven decades with a refined reticence. It was this sense of stoic disposition which had so notably garnered the admiration and awe of all those who met her, from world leaders to subjects alike. 

There is something to be said for this level of personal conviction. Throughout the numerous traumas Elizabeth faced, particularly over the course of the past several years, her stamina and resolve proved to all of those who supported her that silence speaks volumes, that privacy is a virtue, and that dignity over historical savagery and present day insolence will always triumph in the end. 

Her Majesty vowed to work until the end of her days, and she has honored her oath. Having seldom wavered from her steely-faced, yet gentle resolve, she will be remembered as a ruler of sound mind, a connoisseur of political adroitness, and as a woman of extraordinary courage, strength, and heart. 

With condolences to all those who mourn the loss of Her Majesty, including the working members of the Royal family. 

God Save the Queen. 

Long Live King Charles III.


See more: St Paul's Service of Thanksgiving to Honour the Queen

-Rose.

Friday, 10 June 2022

UPDATE ON "THE MODERN RE-IMAGINING" OF MOZART'S THE MAGIC FLUTE (FILM)


A surprise update on the upcoming theatrical release inspired by Mozart's prized 1791 opera, Die Zauberflöte (The Magic Flute) has been announced: the addition to the cast of F. Murray Abraham, the legendary American actor who once played the role of Antonio Salieri in the hugely successful film adaptation of Peter Shaffer's quasi-biopic play on Mozart, "Amadeus," (dir. Miloš Forman) for which Abraham won the Academy Award for Best Actor as the musical nemesis and self-deluded assassin of Mozart. 

The addition of Abraham to the cast of the upcoming film (cr. Florian Sigl/exec. prod. Roland Emmerich) may serve to entice Mozart purists who may pre-emptively make the decision to avoid the film due to it's deviation from the opera's original libretto, penned by the German impresario and singer-playwright Emanuel Schikaneder

The inclusion of the much beloved actor is a clever draw-in to the critics who, in the mid 1980's and 1990's at first detested Forman's Amadeus for its extensive use of liberties regarding Mozart's life, but who later accepted the film as a classic following the publication of more modern scholarship which included the release of the composers' own unbowdlerized correspondence, and with additional attention paid to his private collaborations with other musicians in both the creation and performance of bawdy canons. (Strangely enough, early critics of the film focused less vitriol on the age old, long debunked theory of Salieri poisoning his rival - a rumor which actually did appear in the press immediately following Mozart's demise[1] - but more with the composers' potty mouth and rampant flatulence).

While Emmerich's The Magic Flute is expected to take on an extreme deviation from the opera's plot by introducing new characters (chiefly, a 17-year old aspiring singer and boarding school student, who "stumbles along a century old passageway" that will lead into the "world of Mozart's Magic Flute"[2] and with the story line being set in twenty first century Europe, the decision to include Abraham, an actor much beloved for his fictional role in a not-so-accurate retelling of Mozart's death may serve to encourage older fans who once pooh-poohed "Amadeus" to view the film with the expectation already in mind that the film will be based purely on entertaining audiences, and perhaps with the goal of drawing in younger audiences unfamiliar with Mozart to further explore the life of the composer and his music.

According to IMDB, Abraham has been cast in the role of one "Dr. Longbow" (presumably a professor/conductor). Also joining the cast in the upcoming film are soprano Sabiene Devieilhe, tenor Rolando Villazón, and bass Morris Robinson. The forthcoming screen adaptation of The Magic Flute is currently in post-production with an as-yet unannounced date of theatrical release, but is expected to premiere sometime during the winter season. 

Below: Listen to a heart-wrenching reading of Peter Shaffer's Amadeus by Academy Award Winning Actor F. Murray Abraham. Achingly beautiful with light touches of gaiety, Shaffer's play would later be adapted into Forman's film of the same name. The latter of which takes on, at times, a more frivolous tone as both composers share equally the spotlight.

Salieri is both narrator and protagonist in Shaffer's original play, and Abraham excels in his reading of the tale, blending equally humor with angst - both egotistical and spiritual. Shaffer's "Salieri" invites the audience to listen to the composer's regaling of his own undoing, marred by an incessant need for vindication, leading up to his final "confession," and, ultimately, to a fate worse than - or perhaps greater than (at least in the mind of the insane former musician) - death itself. (2006, BBC Radio Drama):





[1] See: Footnotes, https://unravelingmusicalmyths.blogspot.com/2018/12/introducing-new-series-mozart-files.html.

This myth was based on the alleged utterance of guilt by an insane Salieri whilst in asylum, who purportedly told caregivers he had "poisoned" Mozart. This rumor was widely circulated in the press following Mozart's death in 1791, leading to the mentally unstable composers' caregivers issuing a rebuttal in print (see: footnotes, https://unravelingmusicalmyths.blogspot.com/2018/12/introducing-new-series-mozart-files.html), denying their patient ever uttered such a statement.

The rumor proved popular throughout the ages however, making it in to the writing books of Ludwig van Beethoven, and inspiring a one-act play by Alexander Pushkin (Mozart & Salieri, written 1830, first published in print in 1832), a subsequent one act opera by Russian composer Nikolai Rimsky-Korsakov in 1897 (which used Pushkin's verse drama as the major source for the works' libretto), followed by a play by the aforementioned Shaffer in 1979, and finally, with Forman's blockbuster hit, Amadeus in 1984. See: https://unravelingmusicalmyths.blogspot.com/2019/05/new-series-unraveling-musical-myths-art.html

[2]
See: end of Footnotes, https://unravelingmusicalmyths.blogspot.com/2018/12/remembering-wolfgang-amade-mozart-27.html ; and "'The Magic Flute': Modern Reimagining of Wolfgang Amadeus Mozart's Opera Acquired" (Bastos, Margarida,
Collider, online, 08 June, 2022) 


-Rose.


Tuesday, 31 May 2022

ONLINE CROWD FUNDRAISER FLOPS FOR "VILLA VERDI"; FORMER RESIDENCE, PRESENT MUSEUM LIKELY TO FACE AUCTION

Above: The former residence of Giuseppe Verdi, the "Villa Verdi" at S. Agata

Unfortunate news has traveled down the wire from Italy regarding the current state of the iconic composer Giuseppe Verdi's former home-turned-museum. After failing to meet their €100,000 goal to repair serious damage to the structure though a crowd funding campaign and with no remaining member of the Verdi's descendants, who presently own the relic (complete with intimate objects belonging to the composer, left in the same state Verdi left them after his death some 121 years ago - a stipulation left by the composer in his will)[1] able to buy out one another, Italian news media reports the home is set to be put up for sale, likely via auction, pending an order issued by the Court of Parma and with the State first exercising its right of pre-emption.

I wish to thank those viewers who shared the article previously posted on Unraveling Musical Myths regarding the dire state of the museum - your passion for Verdi, his music, and legacy allowed for a stalling fundraiser to kick up into high gear once more and secure for the descendants (Carrara) Verdi some €12,494.

Unfortunately, this fundraiser, launched by Verdi's great-great grandson, Angiolo Carrara-Verdi, was very poorly advertised outside of Italy by the mainstream press.

It appears this decision is final - potential donors visiting the official fundraiser website for the museum are greeted with the notice "Project Completed."

Speaking regretfully with the local Italian newspaper, Libertà, Angiolo laid bare the feelings of the descendants Verdi:

“There is much regret... it was only a matter of time. Not being able to find an agreement, the villa has met this unpleasant end...I respected the wishes of the maestro...I hope that whoever [buys it] in the future treats it in the same way, as a home. It can’t just become a cold museum.”

READ (previous article on this story at Unraveling Musical Myths, 30 July, 2020):

MUSEUM / FORMER RESIDENCE OF VERDI, "VILLA VERDI" IN DIRE FINANCIAL STRAITS, LAUNCHES CROWDFUNDING CAMPAIGN IN EFFORT TO PREVENT PERMANENT CLOSURE TO PUBLIC

 

Above: Leontyne Price sings her farewell performance as Aida at the Met in 1985. I find the aria "O Patria Mia" to be quite fitting for the subject matter at hand. Just as Price, as Aida, bids a symbolic adieu to her native land, so too, do fans of Verdi - especially those residing in Italy - lose a part of their culture as the composers' former residence is set to leave family hands. 


 Footnotes:

[1]Includes the Viennese Fritz piano on which Verdi composed Il Trovatore and La Traviata, and the gloves worn by the composer to conduct his famous Requiem Mass for the for Italian poet Alessandro Manzoni on the occasion of its premiere in Milan in 1874. In fact, virtually every item contained within the residence has been left untouched by the composers' descendants, who have personally financed and maintained the structure, leaving the home - and the contents within it - exactly as Verdi had left it.

[2]Italian press article

[3]Most recent article (as of the time of this posting) from Italian newspaper "Libertà" (31 May, 2022)

[4] Original article from
Libertà announcing the sale of Villa Verdi (27 May 2022)

-Rose.