William Boyce (composer)

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William Boyce

William Boyce (baptised 11 September 1711 – 7 February 1779) is widely regarded as one of the most important English-born composers of the 18th century.

Life[edit]

Born in London, Boyce was a choirboy at St Paul's Cathedral before studying music with Maurice Greene after his voice broke. A house in the present choir school is named after him. His first professional appointment came in 1734 when he was employed as an organist at the Oxford Chapel. He went on to take a number of similar posts before being appointed Master of the King's Musick in 1755 and becoming one of the organists at the Chapel Royal in 1758. One of his students was the prodigy Thomas Linley.

When Boyce's deafness became so bad that he was unable to continue in his organist posts, he retired and worked on completing the compilation Cathedral Music that his teacher Greene had left incomplete at his death. This led to Boyce editing works by the likes of William Byrd and Henry Purcell. Many of the pieces in the collection are still used in Anglican services today.

Boyce is best known for his set of eight symphonies, his anthems and his odes. He also wrote the masque Peleus and Thetis and songs for John Dryden's Secular Masque, incidental music for William Shakespeare's The Tempest, Cymbeline, Romeo and Juliet and The Winter's Tale, and a quantity of chamber music including a set of twelve trio sonatas. He also composed the British and Canadian Naval March "Heart of Oak". The lyrics were later written by David Garrick for his 1759 play Harlequin's Invasion.

Boyce was largely forgotten after his death and he remains a little-performed composer today, although a number of his pieces were rediscovered in the 1930s and Constant Lambert edited and sometimes conducted his works. Lambert had already launched the early stages of the modern Boyce revival in 1928, when he published the first modern edition of the Eight Symphonies (Bartlett and Bruce 2001). The great exception to this neglect was his church music, which was edited after his death by Philip Hayes and published in two large volumes, Fifteen Anthems by Dr Boyce in 1780 and A Collection of Anthems and a Short Service in 1790 (Bartlett 2003, 54).

Boyce's portraits were painted by Joshua Reynolds and Thomas Hudson. He was drawn and engraved by John Keyse Sherwin, and a vignette made by Drayton after Robert Smirke.[1]

His only son, William Boyce, Jr (25 March 1764–1824), was a professional double bass player.[2]

References[edit]

  1. ^ "Boyce, William". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900. 
  2. ^ British musical biography (Birmingham: S.S. Stratton, 1897) p. 56.

Sources[edit]

  • Bartlett, Ian. 2003. "Lambert, Finzi and the Anatomy of the Boyce Revival". Musical Times 144, no. 1884 (Autumn): 54–59.
  • Bartlett, Ian, and Robert J. Bruce. 2001. "Boyce, William". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Kenyon, Nicholas. 1978–79. "William Boyce (1711–1779)" Music and Musicians 27, no. 6:24–27.

External links[edit]

Court offices
Preceded by
Maurice Greene
Master of the King's Music
1755–1779
Succeeded by
John Stanley
Cultural offices
Preceded by
Joseph Kelway
Organist of St Michael, Cornhill
1736–1768
Succeeded by
Theodore Aylward Sr.