English art song
The composition of art song in England and English-speaking countries has a long history, beginning with lute song in the late 16th century and continuing today. English Art song in the 17th Century. The composition of polyphonic music was at its peak in the late 16th century. By that time, however, the lute started to gain popularity, and was very common among educated people by 1600. The Italians were trying to recapture a simpler vocal style, to mimic Greek models. Giulio Caccini and the Florentine Camerata developed the monody, for solo voice with lute accompaniment, around  1600. Caccini traveled around Europe, other countries begin developing their own solo songs with lute, especially the English composers. John Dowland (1563–1626) and Thomas Campion (1567–1620) emerged as the best-known and most respected of the composers of lute song. Later in the 17th century, Henry Purcell (1659–95) composed many solo songs for his semi-operas, and his songs are also generally considered among the best early English Art songs. Other English Art song composers in the 17th century English Art song in the 18th Century. As Italian opera composition developed in the later 17th century, recitative and aria began  to split apart as separate parts of solo vocal music. Four types of vocal music began to blossom in the 18th century: church music, early oratorio (esp. with Carissimi in Italy), opera, and the secular (or "chamber") cantata. In the early 18th century, George Frideric Handel (1685–1759) made Italian opera very popular in London, but The Beggar's Opera in 1729, a parody of Handel's Italian operas, created a new fad for English popular opera, and Italian opera in London faded by 1740. Thus, the two important types of English solo vocal music in the mid 18th century are  oratorios by Handel, and "pastiche operas" or "ballad operas" from Arne, Boyce and other English composers. The publication of solo vocal music (songs often called "canzonets" or canzonettas") with English texts at the end of the 18th century helped to establish the art song genre in subsequent years. English Art song composers in the 18th century English Art song in the 19th Century. London was the largest city in Europe by 1800; many non-English composers traveled there, especially from Germany and Italy. English theater works ("ballad operas") continued to be popular into the 19th century. The harpsichord, fortepiano, harp , and guitar were all popular instruments at the time; all were used to accompany voices and as solo instruments; song composition began to flourish as home music making with these instrument increased. In the 19th century almost everyone sang, in choral societies, at church services, and at home (in the 'drawing room'). Popular songs, called ballads, became the standard for vocal music publishing later in the 19th century, creating a "low point" in British music composition. Famous singers performed these ballads in concerts, paid for by music publishers, so that the songs would gain popularity and sell copies. In contrast , serious British composers late in the 19th century look towards Germany for inspiration and support. Primary English Art song composers in the early 19th century Primary English Art song composers in the mid- to late 19th century Other English Art song composers in the mid- to late 19th century English Art song in the 20th Century. The great success of European Romantic composers encouraged a "Renaissance" of English music, especially vocal music. Interest in British folk music was expanded through the work of Cecil Sharp, Ralph Vaughan Williams and others; it gradually becomes incorporated into British "classical" music. The highest  point of the English musical "Renaissance" began around 1900, and many great art songs were composed in England before the First World War. A second great era for song composition occurred between the wars, in the years 1920-1938. Primary English Art song composers in the 20th century Other English Art song composers in the 20th century There have been two notable book length studies of English art song in the 20th Century. Stephen Banfield's comprehensive, two volume study of early twentieth century English song, first published in 1985, is notable for its incorporation of both literary and musical  scholarship alongside a performance perspective. Towards the end of his life composer Trevor Hold published his full length study of English Romantic song, "Parry To Finzi: 20 English Song Composers" (2002). English Art song in the 21st Century. Art song composition continues to thrive today, and many English composers are using the internet to show their pieces to the world. While the tradition continues, no current composers have yet achieved the highest level of success and acclaim, making modern British Art Song "a sleeping giant awaiting another resurgence." English Art song composers Active in the 21st century English art song