page_title: Osorio (play)
section_title: Music
hierarchical_section_title: Osorio (play) / Music
caption_attribution_description: Français&#160;: Musée Unterlinden (Colmar), salle des Demoiselles anglaises&#160;: armonica de verre, atelier Abresch de Karlsruhe, 1805, bâti en résineux, placage en citronnier, bois, verre, laiton, métal et dorure. Le pédalier et sa base ont été rajoutés lors de la restauration de l'instrument en 2006.
context_page_description: Osorio is a tragedy in blank verse by Samuel Taylor Coleridge. It was written in 1797 but was unperformed following its rejection by Drury Lane Theatre. Coleridge revised and recast the play sixteen years later, giving it the new title of Remorse. Remorse met with considerable critical and commercial success when it was first performed in 1813: it ran for twenty nights at Drury Lane and was issued in print three times within the year.
  Despite the play's success, later critics dismissed the work as an Elizabethan pastiche. Swinburne said Remorse had "little worth praise or worth memory".
  Historicist scholars, however, have identified a revolutionary viewpoint embedded within Osorio which Coleridge, disavowing his youthful radicalism, sought to dilute when he later reformulated the work to create Remorse.
  Set in sixteenth-century Granada, the play is notable for its use of Gothic elements such as a castle, dungeon, cave and the supernatural. Coleridge's use of these may represent an attempt to elevate what he saw as the vulgar and sensational trappings of popular Gothic plays by situating them within a more refined form of poetic drama.
context_section_description: Two published settings were made of Albert's Invocation Song from Act III. The first was made by William Carnaby in 1802 who must have received the text from Sheridan. Coleridge claimed he discovered Carnaby's music only in 1813. Coleridge expressed indignation that his authorship was not acknowledged on the printed sheet music and that Sheridan had obviously suffered his manuscript of Osorio to "wander about the Town from his house".
  The second published setting of the Invocation Song is by Michael Kelly, the music supervisor at Drury Lane during the production of Remorse. Kelly wrote that Coleridge considered "my music was everything he could have wished". Coleridge also said that Kelly's setting surpassed the efforts of composers in Italy who had also put the same words to music.
  Coleridge's stage direction that the song should be accompanied by an "Instrument of Glass or Steel" refers to the glass harmonica. This direction provides a small example of Schiller’s influence over Coleridge's conception of the play. Schiller referred to the instrument in a similar sorcery scene narrated by the Sicilian sorcerer in The Ghost-Seer.
caption: A glass harmonica
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