The development and contribution Purcell made to the operatic genre through his opera and dramatic works.

Henry Purcell (1659-1695) composed music for many different genres. Among these he wrote one true opera, Dido and Aeneas (1689). He also wrote a number of dramatic works. Purcell spent the majority of his last five years composing music for the stage. The majority of Purcell’s dramatic instrumental music or songs were used in spoken plays. Purcell went on to write four semi-operas; Dioclesian (June 1690), King Arthur (May 1691), The Fairy Queen (May 1692) and The Indian Queen (1695). However, Dioclesian was his only semi-opera to be published whilst he was living (published: 1691).

This essay will explore the development and
(J. A. Westrup (1995) Master musicians Purcell)

Here Purcell uses it to great effect. ‘Let me, let me, let me freeze again’ with sustained vibrato on ‘freeze’ and ‘gain’ of again’. This gives the listener and/or audience the impression of shivering in the music, Purcell conveying the true sentiments of the text.

Example 3: Word setting and word painting from Purcell’s King Arthur,
Song (bass), ‘what power art thou’, page 85 bars 57-60
(From Novello Vocal Score, 1972).

Purcell uses word painting in a melodic and rhythmic technique in Dido’s lament. For instance the dotted repeated top G of ‘Remember me’ which is the climax of the song. This communicates the shrill desperation of Dido in her last living moments. This aria is filled with word painting. The declamatory vocal lines demonstrate her sorrow and resignation to live. The trill on the ‘forget’ gives the impression of a tremor showing that her weaknesses are unveiling themselves and she can no longer stay strong.

Example 4: Word setting and word painting from Purcell’s Dido and Aeneas,
Dido’s lament, ‘when I am laid’, page 71 bars 22-26
(From Novello Vocal Score, 1966).

Purcell made use of rhythmic gesture in the form of scotch snaps, inverting the order of dotted notes, making a catchy dotted rhythm.