THE GOLDEN AGE IN ENGLAND

 

The period from the defeat of the Spanish Armada (1568) to the death of James I (1625) represents one of Europe’s most brilliant “golden ages”. In less than forty years England gave the world Marlowe, Webster and Bacon, the prose of Sir Walter Raleigh, the scientific researchers of Gilbert and Harvey and the music of Byrd, Gibbons, Morley, Weelkes, Wilbay, Bull and Dowland, all geniuses of the first rank, and a host of richly talented followers.

Elizabethan civilization was the fruit of an exceptionally favourable political and social union. The 1588, which saw the defeat of the “Invincible Armada”, ushered in an age inspire d by a new sense of self-confidence and optimism. It was really from this moment that music and theatre began to spread their wings. In the theatre for which Shakespeare wrote, music held an important place, and composers actively collaborated in plays which they enrich ed with numerous arias accompanied on the lute or viols. Unfortunately, owing to the essentially ephemeral nature of the occasion, much of this music is now lost.

But perhaps one of the most remarkable features of the Elizabethan age was the popularity of music making. In a period when public concerts were still unknown, the abundance of musical publications is explained by the great demand for music by amateur s. Everyone sang madrigals, most sizable households possess ed a chest of viola, and the virginal, for which keyboard composers pour ed out flood of fine music, was still more popular – the Queen, herself a devoted virginalist, set ting the example. As for the lute, such was its popularity that it was even to be found in barbers’ shops, so that customers might pluck a few chords while awaiting their turn. Any young man unable to take his proper place in a vocal or instrumental concert became the laughing-stock of the society. If the people had opportunities to shave to the joys of music, popular music also greatly inspire d composers, and the intimate fusion of art music with popular and folk elements remained one of the imperishable charm s of the music of this golden age. Excepting large choral and orchestral works, Elizabethan music embrace s every style and genre. But although it cannot offer us anything comparable to the large-scale splendor of the Venetians, the beauties of the keyboard and chamber music may be regarded as ample compensation.

Religious music plays a definitely lesser role compare d with the preceding period, even though it is represented by the masterpiece s of Byrd and Gibbons, not to mention those of Morley, Weelkes, Tomkins and Peter Philips. Apart from Philips, Byrd was the only composer in England to write music for Latin texts.

Tasks

I. Read the text. Make sure you understand it. Mark the following statements true or false.

1. The year 1588 was the time inspired by a sense of self-confidence and optimism. 2. The period of sixty years represents one of Europe’s most brilliant “golden ages”. 3. Music began to play a very important role in the life of people. 4. Much of that music is known today. 5. Composition of music was very popupar at that time. 6. The Queen herself was a great lover of music; her favourite instrument was a lute. 7. Composers of that time prefered to sreate large choral and orchestral works. 8. Musical instruments were presented in every rich house. 9. Secular music played a more important function in comparison with the preceding period. 10. Many composers wrote music for Latin texts.

 

II. How well have you read? Can you answer the following questions?

1. Why do we call the period of history of England from 1588 to 1625 “the golden age”? 2. What can you say about music and theatre of those times? 3. What was one of the most remarkable features of the Elizabethan age and why? 4. Who became the example for lovers of music? 5. What was the most popular instrument among the ordinary people? 6. What styles of music were popular then? 7. What can you say about religious music? 8. Who wrote music for Latin texts? 9. Was Elizabethan music so beautiful as that of the Venetians? 10. What musical instruments were mentioned in the text?

 

III. Give Russian equivalents of the following phrases:

In less than forty years, a houst of richly talented followers, the defeat of the “Invincible Armada”, ephemeral nature of music, the abundance of musical publications, amateurs, a devoted virginalist, to be found in barbers’ shops, the fusion of art music with popular and folk elements, large choral and orchestral works, to be regarded as, to spread the wings, to become the laughing-stock of the society.

 

IV. Give English equivalents of the following phrases:

Аккомпанировать на лютне или виоле, сочинительство музыки, потоки прекрасной музыки, стать примером, вдохновлять композиторов, вечное очарование музыки, охватывать все стили и жанры, писать музыку на латинские тексты, новое чувство самоуверенности, многое из этой музыки, изобилие музыкальных публикаций, предшествующий период.

 

V. Summarize the text.