Catalog furnishes information about the solo secular cantata (and cantata-like works) in eighteenth-century Britain in a format of use to scholars, teachers, and performers. This repertory has much to commend for both study and performance. Confined to the eighteenth century, it provides valuable insights into this period of British musical life. Includes a body of attractive and useful music.

About the Author

Paul F. Rice is associate professor of musicology at the Memorial University of Newfoundland, Canada.  His research interests include the operatic and concert music of eighteenth-century France and England, as well as opera in general.  In addition to journal articles, Dr. Rice is the author of two books, The Performing Arts at Fontainebleau from Louis XIV to Louis XVI (1989),  and The Fontainebleau Operas of Jean-Philippe Rameau (in press).  Editions of scores include An Edited Collection of the Theatre Music of John Abraham Fisher (1996), three of Fisher's six duets for two violins (1999) and Fisher's six published symphonies (2001).  Orchestral suites drawn from unpublished operas by Rameau have been used for two commercial recordings on the Naxos label.  A recording of eight English theatre overtures of the eighteenth century will be released in 2002 on the Dorian label.  He has twice been awarded major research grants from the Social Sciences and Humanities Research Council of Canada.  A frequent broadcaster on CBC Radio, he is often heard in the intermission features of the Saturday Afternoon at the Opera programmes on Radio 2.

DSMB 84 / 484p / 0-89990-114-X / 2003 / Hardcover /  $52.00

TABLE OF CONTENTS
 

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REVIEWS

“In his book, Dr. Paul F. Rice,…an internationally recognized authority on 18th-century British Theatre music,…has amassed literally hundreds of examples of the genre by composers both native and immigrant….It is a veritable treasure trove of potential repertoire for the aspiring or established early music specialists, be they performers or editors. Dr. Rice begins with a succinct discussion of the history and social role of the genre in Britain and concludes his comments with an explanation of how to interpret the listed examples. 

This is a meticulously researched, well-planned, and beautifully printed volume that should go a long way toward filling important voids in the areas of musicology and repertoire.”

Fanfare Magazine

“…an especially welcome addition to our bookshelves…This comprehensive, 463-page-strong publication will greatly facilitate the work of musicologists, performers, and teachers searching for obscure vocal material to be edited, included in concert programs and introduced to students at all levels.

This publication is also a prime example of how to design a thematic catalogue that facilitates easy use—all the information is virtually at one’s fingertips—while at the same time meeting high scholarly standards.”

Musicology Australia

“In an effort to be comprehensively helpful, the author includes a note of nearly all…CD recordings of this repertory as have so far appeared…For musicologists much the most important feature of this catalogue must be its detailed (if occasionally flawed) listing of sources and particularly its useful breakdown of the musical structure of each cantata in terms of recitative and aria (or whatever)…First-line textual incipits are provided for all sung movements (including recitatives); so too are details of scoring, key, and metre, and, in the case of arias, their form.”

Music & Letters