{"product_id":"2940014774819","title":"Twelve Good Musicians: From John Bull to Henry Purcell","description":"Twelve Good Musicians: From John Bull to Henry Purcell by Sir Frederick Bridge, C.V.O., M.A., Mus.D., King Edward Professor of Music in the University of London, Gresham Professor, Emeritus-Organist of Westminster Abbey\u003cbr\u003e \u003cbr\u003eCONTENTS\u003cbr\u003eIntroductory\u003cbr\u003eChapter 1. Dr. John Bull. 1563 (?)--1628.\u003cbr\u003eChapter 2. William Byrd. 1542 or 3--1623\u003cbr\u003eChapter 3. Thomas Morley. 1557--1603\u003cbr\u003eChapter 4. Thomas Weelkes. 1575?--1623\u003cbr\u003eChapter 5. Orlando Gibbons. 1583--1625\u003cbr\u003eChapter 6. Richard Deering. 1580 (?)--1630\u003cbr\u003eChapter 7. John Milton. 1553--1646-7\u003cbr\u003eChapter 8. Henry Lawes. 1595--1662\u003cbr\u003eChapter 9. Matthew Locke. 1630 (?)--1677\u003cbr\u003eChapter 10. Pelham Humfrey. 1647--1674\u003cbr\u003eChapter 11. Dr. John Blow. 1648--1708\u003cbr\u003eChapter 12. Henry Purcell. 1658--1695\u003cbr\u003e \u003cbr\u003eIntroductory\u003cbr\u003e\u003cbr\u003eIn the Preface of his admirable contribution to the Oxford History of Music (Vol. III.) the late Sir Hubert Parry writes: “The seventeenth century is musically almost a blank, even to those who take more than the average interest in the Art; and barely a score of composers’ names during the whole time suggest anything more than a mere reputation to modern ears.” Of course the distinguished author is speaking of the musical world in general, not of our own country’s music only. I am inclined to think it is a little severe on us. I have always found that great interest is taken in the 17th century music and musicians of England.\u003cbr\u003e\u003cbr\u003eSurely the century which began with the great Madrigal school at its highest point, which saw the Masque at its best in Milton’s Comus, which witnessed the supersession of the viol by the violin, and which, at the close, had to its credit the complete works of our greatest composer, Henry Purcell, ought not to be in any sense “almost a blank,” to English students at least.\u003cbr\u003e\u003cbr\u003eBut if our musical students will only read Volume III of the Oxford History--so full of the author’s admirable criticisms and so amply illustrated by selections from the great composers of the period--they will certainly form a high opinion of what was accomplished then, and, having finished the volume, their minds will assuredly not be a “blank.”\u003cbr\u003e\u003cbr\u003eTo help to a useful view of what was done in our own country in the 17th century I took that period for my University Course in this session 1919-1920, and for my subject Twelve Good Musicians from John Bull to Henry Purcell. The substance of these lectures is given in the following chapters.\u003cbr\u003e\u003cbr\u003eFor many biographical details and other matter I have availed myself of the valuable articles in Grove’s Dictionary and in the Dictionary of National Biography, which I beg to acknowledge.\u003cbr\u003e\u003cbr\u003eTo Mr. Barclay Squire I am deeply indebted for much information. His work in Musical History is most valuable, and deserves the best thanks of all students.\u003cbr\u003eTo my brother, Professor J. C. Bridge, M.A., Mus.D., of Chester, and to Mr. Jeffrey Pulver and Dr. Borland I am also grateful for many interesting facts contained in these pages.\u003cbr\u003e\u003cbr\u003eJ. FREDERICK BRIDGE.\u003cbr\u003eThe Cloisters, Westminster Abbey, October, 1920.","brand":"Denise Henry","offers":[{"title":"Default Title","offer_id":47080373977328,"sku":"2940014774819","price":3.99,"currency_code":"USD","in_stock":true}],"url":"https:\/\/shop-qa.barnesandnoble.com\/products\/2940014774819","provider":"Barnes \u0026 Noble (DEV)","version":"1.0","type":"link"}