John Bennett (composer)
 |
This article may require cleanup to meet Wikipedia's quality standards. (Consider using more specific cleanup instructions.) Please help improve this article if you can. The talk page may contain suggestions. (September 2008) |
John Bennett (c. 1735–1784) was an English organist and composer.
Contents |
[edit] Biography
Very little is known about him. The date of his birth is unknown. He died in September 1784, after serving as organist at St. Dionis Backchuch Fenchurch, London for over thirty years. He was a pupil of Johann Christoph Pepusch. Beechey 1969 provides more detail than can be found in Groves about him.
He has been referred to[citation needed] as the typical versatile eighteenth-century English musician, playing the organ, teaching the harpsichord, playing the viola, and performing at Drury Lane Theatre as a singer in the chorus and as a ballet dancer. According to Mortimer’s The Universal Director (1763) he lived at Queen-square Bloomsbury, and succeeded Charles Burney as organist at St. Dionis-Backchurch, Fenchurch Street, in 1752. Unfortunately the church was demolished in 1878.
An interesting aside for organists is the information provided in the church minutes for July 27, 1749: ". . . that the Salary of Organist be Thirty pounds p. Ann and that he be annually chose. . . .That the person who shall be chosen Organist shall attend in Person twice on every Sunday and on other usual Festivals, and to have no Deputy but in case of sickness."[1]
Henry William Beechey suggested that in 1760 Bennett must have been suffering financial difficulty as he applied for a second organist’s post (with permission from St Dionis) which he was unsuccessful in gaining. It was common in that period for organists to serve more than one church simultaneously.
[edit] The 10 Voluntaries
The 10 Voluntaries for Organ or Harpsichord were published in 1758 since which time the voluntaries have been published a number of times. In the last fifty years various selections from them have seen the light of day. H. Diack Johnstone published numbers 9 and 10 in 1966 (Novello, London). Beechey published 2,5,7,8,9 10 in 1969 and Diack Johnstone also published 6 of them in 1988. A new edition has been published in 2002 of the entire set in Cambridge (UK).
Five copies survive in the British Isles[1]: in the British Museum, the Oxford University Faculty Library, the Euing Library at Glasgow University, the Gerald Finzi Collection at St. Andrews University, and the Shaw – Hellier Collection, The Wodehouse near Wombourne. The British Museum and the collection at Oxford contain the subscription list which lists no less than 227 names including Boyce, Stanley and George Fredrick Handel.
[edit] Ornamentation of the ten voluntaries
|
|
This section is written like a personal reflection or essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (September 2008) |
In this section three ornaments will be considered, the trill (shake), the Beat (modern equivalent the lower mordent) and the appoggiatura.
The trill or shake[2]
While the interpretation above is the standard one and should always be tried first[citation needed], alternatives are indicated depending upon the context. Which involves taking into account both the speed and pitch of adjacent notes. If the music is fast the number of shakes will be reduced, or even converted to a modern day acciaccatura.
If the trill occurs in a descending passage Diack Johnston, (1966B) quotes the following additional interpretations:[3]
The Beat (modern equivalent to the lower mordent)
For the beat you play the written note and the note (or half note, according to the key you play in[4]) beneath it.
According to Diack Johnstone "this seems generally to be regarded as the exact inversion of the trill, beginning on the note below the principal note. However, several authorities table the beat as beginning on the principal note, and it is impossible to tell from the music which interpretation is intended."[5][6].
The Appoggiatura This was interpreted the normal way taking half the value for a un-dotted note and two-thirds the value when the note is dotted. These occur frequently in Bennett in semi-quaver runs, in which case they are written out in full (indicating the editing by the use of a slur).
The voluntaries as teaching pieces The voluntaries of Bennett provide excellent pieces for those just starting to learn the organ:
- The frequent manual changes provide experience in using multiple manuals
- The slow movements provide practice in part playing
- The fast movements provide experience in articulation and ornamentation
It must not also be forgotten that the pieces are also very pleasant, while most organists find them rather superficial most non organists find them particularly pleasant and refreshing to listen to[citation needed].
[edit] References
- ^ a b Beechey G 1969 Ten Eighteenth century voluntaries [Vol 6 or Recent Researches in the music of the baroque era] A-R Editions, Madison 1969
- ^ Robin Beaumont Musicweb
- ^ Robin Beaumont Musicweb
- ^ Ferguson 1987 pp. 152
- ^ H.D. Johnstone, 1966B (ed.) Preface to John Stanley: Voluntary in A minor Op.6 No.2 for Organ Novello, London
- ^ Ferguson H 1987 Keyboard Interpretation: from the 14th to the 19th century. Oxford university press [now out of print]
- H.D. Johnstone, 1966 (ed.) Preface to John Bennett: Voluntaries IX and X for Organ Novello, London
- H.D. Johnstone, 1988 (ed.) Preface to John Bennett: Six Voluntaries for Organ London
- Mortimer Thomas 1763 The universal Director; or, the Nobleman and Gentleman’s True Guide to the Masters and Professors of the Liberal and Polite Arts and Sciences
