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 THUS THE GLOOMY WORLD
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 TROMBA PUBLICATIONS
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'oThus The Gloomy World" is taken from the masque, "The Fairy Queen" by Henry furcell. An
adaptation of Shakespeare's "A Midzummer Nights' Dream," the "Fairy Queen" was produced
in 1692 in London and contains some of Purcell's most lavish efforts. This selection is a case in
point, being a fuil fledged da capo aria, a form not frequently encountered in his other songs for
voice and trumpet.

The piece appears in the fifth act and was originally scored for male alto, though it is most frequently
performed with the soplano voice.

The A section should be in a rather bright tempo with a considerable slacking of pace in the B
section, returning to the original pace with the D.C.

Regarding ornamentation.lnBaroque music, it has been generally conceded that the improvisational
aspect is essential, particularly
in the case of the recapifulation of a da capo aria, such as this. It is
the editor's view however, that in more cases than not, the extemporaneous additions of the modern
performer exceed the borders of good taste. Extensive ornamentation can obfuscate the clear
delineation of an already adequate musical line, and moreover, frequently fails to take into account
certain obvious characteristics or limitations of a particular selection.

In "Thus The Gloomy World" the original scoring was for the natural trumpet in C, eight feet of
tubing, without benefit of valve, key, or slide.* Owing to this immutable tube length, only those
notes of the harmonic series could be played. Consequently, although the compositional device of
the trumpet echoing the v«rice was maintained throughout the selection, it was impossible for it
to do so exactly in all cases. For example, the eleventh bar of the piece finds the trumpet altering
the melodic line as stated by the voice in bar 7, simply because the notes A and B were not available
to the instrument in that octave. An identical problem may be observed in bars forty and forty-one.
This imposition upon the original scoring must surely give us a clue as to the nature of ornamentation
when the clarino trumpet was involved. Unless we accept the notibn that the voice only is to be
ornamented, (thus altering the echo effect) and in view of the rather straight forward mannerism
of the selection, it is the opinion of the editor that for trills or simple mordent figures at the
save
various tonic and dominant cadences, the piece is best left to speak for itself.

Gerald Endsley l97l

*The author does admit the possibility of an early appearance of the English Slide Trumpet, generally associated
with the later llandelian era. This instrument, or for that matter, the practice of hand stopping a coiled trumpet
might feasibly produce the B but neither would account for the ready use of the A.