Music for the Mad - Institutionen för musikvetenskap - Uppsala ...
Music for the Mad - Institutionen för musikvetenskap - Uppsala ...
Music for the Mad - Institutionen för musikvetenskap - Uppsala ...
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Example 14, “I sigh’d and I pin’d” bb. 1-12.<br />
The second “There’s nothing so fatal as woman to hurry a man to his grave” follows close on<br />
<strong>the</strong> <strong>for</strong>mer. The piece is <strong>the</strong> same sort of burlesque little air as was discussed above, and it has<br />
<strong>the</strong> same mocking misogynistic character as Cardenio’s final section. It remains however in d<br />
minor tripe time throughout, with chromatically altered tones in <strong>the</strong> melody sometimes clash-<br />
ing against <strong>the</strong> harmonies of <strong>the</strong> bass.<br />
48<br />
For <strong>the</strong> third song in III.i, preceded by Lyonel’s exclamation that Celia is dead, <strong>the</strong>re is<br />
a drastic change of mood. The lament-like “Fled is my love” begins in recitative style with<br />
long, elaborate melismas over a slowly moving bass (example 15). As Price noted, <strong>the</strong> melis-<br />
ma is almost disproportionately long <strong>for</strong> so short a piece. 99 Stylistically it is a reminder of <strong>the</strong><br />
initial melismas of Not all my torments. The songs are oddly similar, but “Fled is my love”<br />
seems a perverted version. 100 The openings are stylistically similar, albeit <strong>the</strong> disproportionate<br />
length of <strong>the</strong> melismas in “Fled is my love”, and both songs turn halfway to a new, lighter,<br />
opening. Not all my torments is a kind of rit du passage from utter despair to stoic acceptance,<br />
through continuous motion in <strong>the</strong> bass <strong>the</strong> turn is made an organic development, changing<br />
nei<strong>the</strong>r <strong>the</strong> style nor key of <strong>the</strong> piece. “Fled is my love” on <strong>the</strong> contrary turns drastically,<br />
changing not key but meter to a flowing triple time, and thus changing style from recitative to<br />
aria. The lament is abandoned altoge<strong>the</strong>r <strong>for</strong> <strong>the</strong> more hopeful idea that if Celia will not come<br />
to Lyonel, Lyonel might go to Celia. However, placed in its dramatic context where <strong>the</strong> song<br />
is preceded by Lyonel’s announcement that Celia is dead and immediately succeeded by “’Tis<br />
death alone can give me ease”, <strong>the</strong> ending of “Fled is my love” becomes much less light than<br />
first it seemed.<br />
99<br />
Price, London Stage, p. 158.<br />
100<br />
N.B. that <strong>the</strong>re is no proof whatsoever of Purcell’s intending “Fled is my love” to be a perverted version of<br />
Not all my torments, but <strong>the</strong> example is merely illustrative.