Glee (music)

A glee is an English type of part song spanning the late baroque, classical and early romantic periods. It is usually scored for at least three voices, and generally intended to be sung unaccompanied. Glees often consist of a number of short, musically contrasted movements and their texts can be convivial, fraternal, idyllic, tender, philosophical or even (occasionally) dramatic. Their respectable and artistic character contrasts with the bawdiness of many catches of the late 17th century, which were thought inappropriate in female company. Although most glees were originally written to be sung in gentlemen's singing clubs, they often included soprano parts—which were sung by boys (church choristers) in earlier years, and later by ladies who were often present, although only as guests. Glees as described above fall into a different musical category from traditional college songs or fight songs.

The standard glee is a three- or four-voice a cappella song, although many examples also exist with from five to eight voices, and some early glees have basso continuo accompaniment. It is generally to be sung by solo voices. Glees often consist of several short movements. The use of the countertenor voice, often on the upper part, is a particular characteristic of the form (the most famous exponent was William Knyvett), serving to distinguish it from German male voice music, in which the top part is taken by a tenor.

The first song to be described as a glee was Turn, Amaryllis, to thy Swain by Thomas Brewer. Glees were occasionally produced during the remainder of the 17th century and increasingly so in the first half of the 18th century by such composers as John Travers and William Hayes. The heyday of the glee was in the years between 1750 and 1850. Perhaps inspired by a revival of the English madrigal (and other early music) by the Academy of Vocal (later Ancient) Music (founded 1726), English composers, unlike their continental contemporaries, began again to compose a cappella music. At first the predominant stylistic influence was Italianate, but later glee composers juxtaposed sections in the French Overture style and style galant with affetuoso 3/4 movements and sections of robust Handelian fugal writing. Glees were also often introduced into stage productions. As the 19th century progressed, and musical tastes changed, the glee as a musical form began to be replaced by the romantic Part song. By the mid-20th century, the glee had become a musical curiosity, seldom performed. However, professional singing groups have, since then, performed and recorded glees with some success.

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