This is the follow up Retrospect’s debut recording, released to celebrate the 350th birthday of Henry Purcell, and reunites four Baroque instrumentalist superstars. Continuing the composer’s trio sonata texture found in Ten Sonatas in Four Parts, Purcell’s later set is much more forward-looking to the later Baroque rather than taking inspiration from the old style contrapuntal models found in the earlier set. These sonatas display the composer’s innate ability at blending influences from French, Italian and English music; exotic dissonances can be heard alongside the unique use of counterpoint. This recording was nominated for a BBC Music Magazine Award and an International Classical Music Award and was named a ‘Choice’ recording by Gramophone, BBC Music Magazine and International Record Review. Recorded at St George’s, Chesterton, the recording beautifully captures the timeless beauty of Purcell’s most highly regarded instrumental works.

This re-release is one of CAPRICCIO’s most famous recordings which has been remastered for optimal quality and offered at a special price. Henry Purcell is considered to be one of the finest English composers to have ever lived. He wrote a number of operas, and is heralded as composing the first English opera. Featured on this release are suites from four of his most popular operas, The Fairy Queen, Dioclesian, King Arthur, and The Indian Queen. Neville Marriner, who is featured as conductor on this recording, founded the Academy of St. Martin In the Fields along with John Churchill. The ensemble was a monumental part in the revival of Baroque performance in England.

Despite only living until the age of 36 Purcell is undoubtedly one of the most remarkable musical geniuses of all time. The Sixteen continues its exploration of his music written for royalty illuminating two more of Purcell's Welcome Songs - Swifter, Isis, swifter flow and The summer's absence unconcerned we bear. In his music for Nathaniel Lee's tragedy Theodosius we witness the young Purcell displaying his playhouse wares in strokes of astonishing versatility some ten years before he made a serious impact as a master of music for the stage.

Purcell’s genius abounds in this, the fourth volume in The Sixteen’s series devoted to the composer. Henry Purcell grew from young childhood to established professional adulthood in the service of Charles II. He identified strongly with the court, but he was well aware of Charles’s unreliability as a patron. Wisely, Purcell made an early decision to diversify, flaunting his court connections while building up the largest possible client base beyond the court. This programme shows that strategy in action and celebrates a diversity of writing for both professional Court musicians as well as amateur enthusiasts. “Christophers creates a vivid sense of celebration and occasion, conjuring blustering trumpet fanfares and drum-rolls from his ensemble.” (Gramophone)

Nearly all of Daniel Purcell’s surviving solo harpsichord music consists of arrangements, the only clear exception being the short Toccata, a brief essay in the style of the preludes from Henry Purcell’s harpsichord suites. The Suite is a simple but effective arrangement of movements from the composer’s own suite

Until the late 1680s, Henry Purcell composed almost exclusively for the royal court. But when the monarchy decided to reduce its expenditure on music in 1690, he joined the United Company, a London theatre company, and devoted himself to composing for its productions. These took varied forms, with operas such as King Arthur (1691), The Fairy Queen (1692) and The Indian Queen (1695) but also spoken plays with music, such as The Virtuous Wife (1695). It is excerpts from these works that are presented in Tyrannic Love. Compositions by Purcell’s colleagues or followers John Blow, John Eccles, Jeremiah Clarke and Daniel Purcell complete the programme. This recording marks the beginning of the collaboration between Alpha and the ensemble Les Surprises, founded in 2010, which takes its name from Les Surprises de l’Amour by Rameau, the group’s emblematic composer. Under the artistic direction of Louis-Noël Bestion de Camboulas, who is also an organist and harpsichordist, the ensemble presents innovative interpretations and explores the rich orchestral sonorities made possible by the use of Baroque instruments.

REVIEW:

Usually to be found exploring the less familiar names of the French Baroque, the period group have crossed the Channel for this exhilarating, no-holds barred romp through vocal and instrumental music by Purcell, Blow, Eccles and Jeremiah Clarke. The theme is love, but there’s nothing coy or sugary about either music or performances that embrace extremes of emotion and expression. There’s delight after delight here, both in repertoire – which includes plenty of lesser-known treasures – and performances.

– Gramophone

Purcell’s The Fairy Queen is based on Shakespeare’s A Midsummer Night’s Dream, a play not frequently performed in the late 17th century, nor very well regarded (“the most insipid ridiculous play that ever I saw in my life” - Samuel Pepys’ diary, 1662). Despite this, the play would go on to work well within an opera, as the characters of Pyramus and Thisbe could conjure up singing and dancing accomplices. Purcell’s masterful composition, Gabrieli’s first-class performance, and McCreesh’s superb interpretation demonstrate why their recordings are seen as some of the best in classical music today.

Gabrieli are world-renowned interpreters of great vocal and instrumental repertoire, from the Renaissance to the present day. Founded by Paul McCreesh in 1982, Gabrieli have both outgrown and remained true to their original identity: whilst the ensemble’s repertoire has expanded beyond any expectation, McCreesh’s ever-questioning spirit, expressive musicianship and a healthy degree of iconoclasm remain constant and are reflected in the ensemble’s dynamic performances. Gabrieli’s repertoire includes major works of the oratorio tradition, virtuosic a cappella programmes and mold-breaking reconstructions of music for historical events. Above all, Gabrieli aims to create thought-provoking performances which stand out from the crowd.

REVIEWS:

How to pick highlights when everything is a highlight? The First Music introduces us to the string band’s crisp, punchy execution, incising phrasing and tight ensemble. The natural trumpets, especially built for this recording, blaze out triumphantly in the Second Music’s Overture. Further on, they share the limelight with chorus and timpani in the gloriously Handelian “Hail Great Parent of us All”.

By contrast, there are the exquisite recorders and theorbo in the delicate, charming “Symphony in Imitation of Birds”, and the mournful nymph accompanied by a consoling oboe in the air “Oh Let Me Ever, Ever Weep”. Only slightly less melancholy is the gorgeous “If Love’s a Sweet Passion” for nymph, chorus and fawn; the string playing here is as entrancing as the singing. Then there are those brilliant comic moments, like the drunk blindfolded poet tormented by fairies. Or Coridon and Mopsa lustily singing “Now the Maids and the Men are making of Hay” to the frenzied strumming of guitar.

--Limelight

There’s an air of generosity and joy about this recording, as well as a communicative, engaging sense of theatrical narrative that works on its own terms. Reference is made in the thorough and splendid booklet notes which is the work of several hands – and is once again festooned with black and white photographs of a ‘cow and leaf’ nature – regarding the placement of the Chaconne to end the work but that won’t come as a surprise for those who have John Eliot Gardiner’s recording.

This is an elegant, refined and strongly realized performance. Earthier alternatives exist...but if you follow McCreesh and his forces you will lack for little in polish and affect, in the truest sense.

--MusicWeb International