During the 18th century vocal music was considered, by most composers, to be of paramount importance. Avison even went as far as to say that even the finest instrumental music was only an imitation of vocal music. For this reason some of the instrumental forms we see today grew out of introductions and adornments to vocal works - the symphony being one such form. Things got very confusing regarding symphony terminology around the mid eighteenth century when composers such as Thomas Arne were developing the symphony into the large-scale format we know today. Other composers such as Boyce were developing symphonies based around their overtures to odes, masques and incidental music. Incidentally, Arnes first book of eight symphonies was published under the title of, "Eight Overtures" while Boyce published his smaller-scale, overture-like music as "Eight Symphonies".(!)
As would be expected of music written for the theatre, Boyce's fourth symphony is not without it's own drama in it's short ten minutes. Lively throughout its three short "movements" it is most definitely a "toe-tapper" which is not surprising - listen out for the gavotte as dance movements abound throughout the eight symphonies.

About the Composer
Boyce, a well-respected composer amongst his peers, held the position of Composer to the Chapel Royal from the age of 35 where he was also one of the organists. Receiving a doctorate in music from Cambridge in 1749 he then took the position of Master of the King's Music in 1757. While these posts required him to write numerous anthems and odes for solemn and festive occasions it did not restrict him. To gain musical respect in the 18th century it was important to be successful in the secular world as well as the sacred. Boyce busied himself composing masques, entertainments and incidental music for plays.

Use the BACK button to return to the page you were on