Eighteenth-Century British Patriotic and Political Cantatas

The present paper is part of larger study of the solo.secular cantata in eighteenth-century Britain.This repertoire has been little studied.yet contains many musical riches and reveals much about changing musical styles in eighteenth-century Britain.I The financial support of the Social Sciences and Humanities Research Council of Canada is gratefully acknowledged.For a nation which gave lip service to expressions of patriotism in other areas, it is surprising that so few of the solo secular cantata texts contain either patriotic or political content. Figure I outlines the known surviving works.some 29 works in total.This represents less than 5% of the repertory of the solo.secular cantatas which appeared in Britain during the eighteenth century.It is possible to categorize these works broadly, with some works appearing in more than one category.2 The list presents some surprises: there are fewer generally patriotic works than those which refer to specific political events.While more general works would not have dated so quickly.the eighteenth-eentury interest in matters of the moment was strong.and it is those works with specific political references that dominate.Practical considerations.however.appear to have dictated that most orchestrally-accompanied works were published in short score.Works for home use were usually presented with only a basso continuo accompaniment, although obligato instruments are sometimes found.Such formats were both cheap and fast to produce, and allowed for publication lengths of four pages or less, thus making their purchase price attractive. Works in Praise of BritainSurprisingly few works were set to texts which praise Britain generally.The first cantata listed in Figure I. Pepusch's early work.The Island of Beauty.begins his I 7 10 collection of works.Hughes' text presents Britain as the "fairest Island in the Sea," where even the gods would be happy to dwell.This text was an ideal vehicle for a foreign composer to present his musical calling card and to ingratiate himself to a new audience.In the present case, Pepusch moved to london from Berlin around 1704. 3 That the work was intended for home performance is demonstrated by the vocal range of only two notes over an octave (making it possible for a modestly endowed singer).and an accompaniment restricted to a figured bass.Some 50 years later (in the I 760s).the blind composer.John Stanley.set The Power of Music, a work which remains in manuscript in the Rowe Music library at King's College.Cambridge.The anonymous text for The Power of Music suggests that music is a "celestial science" which can inspire peace and love.and dispel grief.All Britons are encouraged to raise their voices in songs of praise.This work was likely meant for concert or celebratory use.yet there is no record of it having been performed.4 Works Dealing with Civil UnrestThe earliest work dealing with civil unrest is Pepusch's "While pale Britannia pensive sate."found in his second volume of cantatas from 1720.Colley Obber's text refers to the first Jacobite rising of 1715.following the importation of a Hanoverian monarch.George I.The Baldwin.O. S Wilson.T. (200 I).leveridge.Richard.In S. Sadie (Ed.).The New Groue Dictionary of Musician and Musicians (2nd ed .•Vol.14. pp.604.06).london: Macmillan.le Chansonnier (rantrois ou Recuel de chansons.ariettes.lIaudellilles.et autres couplets choisis.(1971).Vols. 1.8.Geneva:

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