Editing Henry Purcell (section)

===Dido and Aeneas===
Between 1680 and 1688 Purcell wrote music for seven plays.{{sfn|Harris|1987|p=6}} The composition of his chamber opera ''[[Dido and Aeneas]]'', which forms a very important landmark in the history of English dramatic music, has been attributed to this period, and its earliest production may well have predated the documented one of 1689.{{sfn|Runciman|1909}} It was written to a [[libretto]] furnished by [[Nahum Tate]],{{sfn|Chisholm|1911|p=658}} and performed in 1689 in cooperation with [[Josias Priest]], a dancing master and the choreographer for the [[Dorset Garden Theatre]]. Priest's wife kept a boarding school for young gentlewomen, first in [[Leicester Fields]] and afterwards at [[Chelsea, London|Chelsea]], where the opera was performed.{{sfn|Hutchings|1982|p=54}} It is occasionally considered the first genuine [[Opera in English|English opera]], though that title is usually given to Blow's ''[[Venus and Adonis (opera)|Venus and Adonis]]'': as in Blow's work, the action does not progress in spoken dialogue but in Italian-style [[recitative]]. Each work runs to less than one hour. At the time, ''Dido and Aeneas'' never found its way to the theatre, though it appears to have been very popular in private circles. It is believed to have been extensively copied, but only one song was printed by Purcell's widow in ''[[Orpheus Britannicus]]'', and the complete work remained in manuscript until 1840 when it was printed by the [[Musical Antiquarian Society]] under the editorship of Sir [[George Alexander Macfarren|George Macfarren]].{{sfn|Chisholm|1911|p=658}} The composition of ''Dido and Aeneas'' gave Purcell his first chance to write a sustained musical setting of a dramatic text. It was his only opportunity to compose a work in which the music carried the entire drama.{{sfn|Harris|1987|p=6}} The story of ''Dido and Aeneas'' derives from the original source in Virgil's epic the ''[[Aeneid]]''.{{sfn|Harris|1987|p=11}} During the early part of 1679, he produced two important works for the stage, the music for [[Nathaniel Lee]]'s ''Theodosius'', and [[Thomas d'Urfey]]'s ''Virtuous Wife''.{{sfn|Runciman|1909}} 

In 1679, Blow, who had been appointed organist of Westminster Abbey 10 years before, resigned his office in favour of Purcell.{{sfn|Runciman|1909}} Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. He had probably written his two important stage works before taking up his new office.{{sfn|Chisholm|1911|p=658}}