A Cliveden Setting

Fiske, Roger

doi:10.1093/ml/47.2.126

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“…Michael Burden, Garrick, Arne and the Masque of Alfred (Lewiston, 1994). Roger Fiske, 'A Cliveden Setting', Music and Letters, xlvii (1966), 126. John C. Hodges ed., William Congreve: Letters and Documents (London, 1964 Scott, Alexander ed., Alfred by Thomas Arne, in Musica Britannica, xlvii, (London, 1981) Notes:…”

Section: The Judgment Of Parismentioning

confidence: 99%

The Independent Masque 1700–1800: A Catalogue

Burden¹

1995

Res. Chron. RMA

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The masque—a long-established if only loosely defined form which had its origins in the Elizabethan revels—underwent striking changes in the course of the seventeenth century. Having reached a sophisticated and inevitably short-lived unity of all its possible dramatic elements during the first quarter of the century, this unity was first undermined by the departure of Ben Jonson in 1631 from the team at Court, and then all but extinguished by the Commonwealth. Although its performance during the Interregnum and its subsequent regeneration both at Court and in private are more vigorous than is usually believed, there was never the money to revive its earlier splendour, nor the political climate in which to do so. There was, of course, a revival of the pre-Commonwealth habit of inserting masques into spoken plays, and towards the end of the century, masques were also interpolated between the acts of spoken plays. Masques were also included in the ‘dramatick’ operas of the 1670s and 1690s, but although the masques here were more extravagant than those in plays, this use did not give the genre theatrical independence.

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Section: The Judgment Of Parismentioning

confidence: 99%

The Independent Masque 1700–1800: A Catalogue

Burden¹

1995

Res. Chron. RMA

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A Cliveden Setting

Cited by 1 publication

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The Independent Masque 1700–1800: A Catalogue

The Independent Masque 1700–1800: A Catalogue

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