| Summary: | During the English Reformation, composers attempted to create a uniquely English take on opera, one rooted in dramatic elements and conventions tied to the English court masque of the earlier part of the century. One component essential to opera, recitative, was understood then and now to be an Italian invention, and though the Britons knew it to be an indispensible element of operatic style, they had only a passing acquaintance with its specific characteristics. Using stylistic features present in declamatory lutesongs from within masques and without, English composers attempted to develop their own brand of musical monody to fulfill the dramatic function of recitative in their operas. Traditionally, the stunted growth of this tradition has been explained by cultural and political factors alone; however, this study shows how the difficulties encountered while developing an English recitative tradition prevented composers from having the tools necessary for their operas to flourish. This fact is shown by examining the obstacles that had to be overcome when attempting to reconcile a rich, existing tradition of dramatic poetry with the demands of creating a moving and varied musical setting of the text. Further, an attempt is made to define the genre of English recitative and the breadth of style therein by examining the specific features of declamation in the major operatic works of Restoration England. The analysis further shows how the inconsistent degree of efficacy in these composers’ efforts prevented them from creating a conventionalized style of declamation applicable to all dramatic situations.
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