Despite his immersion in the composition of sacred music, Purcell retained a lifelong interest in the theatre - an aspect of his ouvre that has been neglected. Among the authors of the five works on this recording were two of the most celebrated of the age - John Dryden and William Congreve - and for their ‘semi-operas’ Purcell produced incidental music and songs of vitality, wit, and imaginative text-setting that offer an intriguing look at the world of Restoration drama.

Continuing their ongoing series with Resonus, the Saint Thomas Choir of Men and Boys, Fifth Avenue, New York and conductor John Scott release this compelling programme of choral works by Henry Purcell which also features the acclaimed New York period ensemble Concert Royal. Recorded on period instruments, this collection of sacred works by Henry Purcell features some of the composer’s best-known choral works framed by the large scale works O sing unto the Lord, Z44 and the Te Deum in D major, Z232. Completing this collection is the organ Voluntary in G major, Z720, in a striking performance by John Scott.

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.

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The collaboration of the poet John Dryden and Henry Purcell marked a conspicuous leap forward for English opera. Their greatest project, King Arthur, is a five-act ‘dramatick opera,’ the text of which had its origins in a patriotic musical play Dryden had written in 1684 but which he radically overhauled. The result was a work that appealed to the audience’s enthusiasm for fine costumes, lavish sets, ingenious stage machinery and a cast of singers, dancers and instrumentalists, containing vocal show-stoppers such as the imperishable ‘Frost Scene’ and ‘Fairest isle.’ This critically acclaimed staging uses a new performing edition by Rene Jacobs, and is sung in English with German dialogue. Bachtrack.com greatly admired the 2017 performance: “The singing cast- all of which played up to six parts each- were strong throughout Soprano Anett Fritsch marveled as Merlin’s trusty spirit Philidel and Cupido, her coloratura agile and light, her singing and speaking impressive both on stage and whilst airborne. Bass Johannes Weisser played a suitably repulsive Grimbald and convinced vocally in the Cold Genius’ staccato aria “What Ho,” Soprano Robin Johannsen and Altus Benno Schachtner delighted particularly during their touching love duet.”

One of the charms of this Purcell garland is the way Marlow explores the tonal potential of his singers, hardening and rounding voices as the music demands.

"It is a staggering fact", Peter le Huray's note tells us, "that, apart from the funeral anthem Thou knowest, Lord, Henry Purcell had composed every piece that is recorded here by the time he had reached his twenty-fifth birthday." What a time it must have been when the Chapel Royal establishment was furnished with so many brilliant young people, fired with the adventure of restocking the service lists with music after the 15 years of the Commonwealth, when the Chapel had been disbanded. The patronage of Charles II is often mentioned in terms of his fondness for music which would make his foot tap. Much of the music here, one can only assume, was sung when he was elsewhere, since only four of the anthems would have found favour if the legend be true, and the feel of a collegiate sing-in is generally as strong as in the pre-Commonwealth church. Apart from Blow up the trumpet in Sion, the Jubilate, I will sing unto the Lord and Iwas glad we are in a world of deeply personal expression which does not exclude but does not need an audience. The anguished pleading of Remember not, Lord, our offences and Hear my prayer, 0 Lord belongs to the singers. Overhearing it, one can perceive only half its power. Even the awesome penitence of the Funeral Sentences, sung at Queen Mary's funeral and shortly after at the composer's, casts no net towards the congregation. The majesty of death in the presence of God is chillingly conveyed. That liturgical problem child Benedicite omnia opera stretches even Purcell's tolerance a little and his in-house setting is more fun to sing than to hear. This performance makes more sense of it than any I have heard.

One of the charms of this Purcell garland is the way Marlow explores the tonal potential of his singers, hardening and rounding voices as the music demands. One is tempted at first to miss the plaintive innocence of boys' voices, but I doubt if anyone could get much nearer Purcell's technical requirements than this. Those same sopranos who breathed the warm passion of Parry (reviewed above) are cooled and polished with ice cubes and the altos likewise (tenors and basses freeze in sympathy)—as in the final item, where every turn of the harmonic screw in Hear my prayer, O Lord is calculated to grip the heart. Even though this can only mean the most to those who sing it, no listener could fail to search his conscience as it is sung. My only complaint concerns the maddeningly unobtrusive organ parts, cooing so modestly. However, this is a small matter in so well conceived and so well executed a presentation, backed by first-class engineering.

– Gramophone [9/1987]

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

On this release, Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the third album in their acclaimed series. King Charles II liked to project a strong, stable, divinely legitimated image. Whilst that image had no basis in reality, the scale of his deception and financial skulduggery did not emerge until 19th-century historians discovered secret treaty documents between Charles and King Louis XIV of France. Purcell had no idea of course, and so all of the music on this album celebrates the political triumphs that he and his colleagues thought they had witnessed. It includes the quite brilliant Welcome Songs 'Welcome to all the pleasures' (with its superb six-part fanfares to St Cecilia in the final chorus) and 'From hardy climes'.

The glories of the Baroque are realized in these splendid arrangements for brass and are celebrated in this classic recording from the Canadian Brass. Originally released in 1983, this disc showcases what has made the "Brass" one of the most popular Classical ensembles of all time.

High, bright, light and clear - four ideals of the Baroque aesthetic, obviously applied to its architecture and perhaps similarly applicable to its music.

Samuel Scheidt's Galliard Battaglia is from a group of compositions compiled in 1621 for the entertainment of his employer, Margrave Christian Wilhelm of Brandenburg. This lively dance is one of the most imaginative of the many "battle pieces" composed during the Baroque era.

Until recently Jean Joseph Mouret was known only to musicologists. Within the last three decades several of his works have been revived, and one has actually achieved "hit tune" status. This is the opening Rondeau from Fanfares, a suite from the collection Suites de symphonies (1729). The suites were dedicated to the Prince of Dombes, and Fanfares was conceived specifically as a tribute to his valor in combat. The Rondeau has become familiar as the signature theme of PBS' Masterpiece Theatre.

In 1721, 100 years after the publication of Scheidt's Galliard Battaglia, J.S. Bach dedicated a set of concertos to another Margrave of Brandenburg, Christian Ludwig. Arthur Frackenpohl has compiled a suite of three selected movements from the Brandenburg Concertos for The Canadian Brass. The first movement is the final Allegro from Concerto No.6, the second the Polacca and Trio from the last movement of Concerto No.1, and the third is the brilliant finale of Concerto No.2, featuring the piccolo trumpet, a smaller trumpet designed to facilitate performance of virtuoso passages in a high register.

Two other works by Bach are included here. The first is the Air from the Suite No.3 for orchestra; in his arrangement, written specifically for The Brass, Arthur Frackenpohl assigns the familiar melody to both the trumpet and the piccolo trumpet. The second is Fred Mills' arrangement of a keyboard Prelude and Fugue (BWV 898) on the notes corresponding to the letters of Bach's last name (in German parlance, B equals B-flat and H corresponds to B natural).

The Purcell Suite is taken from a variety of sources. The fanfarelike Intrada is from the incidental music for John Dryden and Robert Howard's The Indian Queen, and the merry Rondo is from the incidental music for a revival of Aphra Behn's tragedy Abdelazer, or, The Moor's Revenge; this melody has become familiar as the theme of Benjamin Britten's Young Person's Guide to the Orchestra. The third movement is the famous lament from Dido and Aeneas. The fourth is a transcription of a transcription. "Cebell" refers to Purcell's borrowing of the melody of a chorus praising the goddess Cybele in Lully's opera Atys. The finale combines the stately Trumpet Tune, described to both Purcell and Jeremiah Clarke, with the spirited introduction to the anthem Rejoice in the Lord Alway.

William Boyce's best-known work is a set of eight short symphonies. These were published in 1760 but were, for the most part, composed earlier as introductions to theater pieces. Howard Cable has selected five individual movements for his Suite. The first, from Symphony No. 7, attests to Boyce's admiration of Handel's music. The tuba is given an opportunity to perform in a lyric manner in the slow second movement, from Symphony No.1. The ensuing Gavotte, from Symphony No.4, is a fine testimony of Boyce's aptitude for writing dance music; this is followed by another slow movement, from Symphony No. 7,and the suite concludes with the jubilant fugue from the first movement of Symphony No.5.

Gottfried Reiche was one of the musicians employed by the city of leipzig to provide music for ceremonies and festivals. His abilities were held in high estseem. In 1727 his portrait was painted showing him holding the manuscript of the brilliant trumpet fanfare "Albason," here brilliantly played by the two trumpets in unison (This arresting piece is a signature theme for CBS television's Sunday Morning cast.) On October 6,1734, the 67-year-old Reiche died of a stroke caused by th exertion of participating in a torchlight performance of Bach's cantata Preise dein Glück, gesegnetes Sachsen (BWV 215).

Jeremiah Clarke was a successful composer of church and theater music but was subject to episodes of depression, which caused him eventually to take his own life. He is chiefly remembered for the Prince of Denmark's March. The alternative title, Trumpet Voluntary, was first used in a 19th century organ transcription, mistakenly attributed to Purcell; Sir Henry Wood used this transcription as the basis of his celebrated orchestral arrangement. Today the piece is rightfully ascribed to Clarke.

From notes by DAVID OSSENKOP

PURCELL Praise the Lord, O Jerusalem. To the Hills and Vales. By the Beauteous Softness Mix’d with Majesty. O God, Thou art my God. How Happy the Lover. What Power Thou Art. Behold, O Mightiest of Gods. My Heart is Inditing of a Good Matter. Bid the Virtues. Hail! Bright Cecilia. Strike the Viol. Thou Knowest Lord the Secrets of Our Hearts. Fairest Isle. Full Fathom Five • Voces8; Les Inventions; Andrea Haines, Emily Dickens (s); Barnaby Smith (ct); Samuel Dressel (t); Dingle Yandell (bs) • SIGNUM 2975 (70:18)


Voces8 is an (of course) eight-member group whose repertoire ranges from “Renaissance polyphony to unique jazz and pop arrangements.” Here they are joined with the distinguished French-based instrumental group Les Inventions. Together they have put together a kind of anthology of Purcell’s music that they charmingly describe as a stroll through his world. It’s more than that. We hear a particularly lovely rendition by the voices of Purcell’s unaccompanied dirge Thou Knowest, Lord, a gracious performance by countertenor Barnaby Smith of Purcell’s praise for Queen Mary, By Beauteous Softness Mix’d with Majesty (with a text by the oft-reviled Thomas Shadwell), and a comical What Power Thou Art. In this piece, nicknamed The Cold Song, bass Dingle Yandell impersonates the spirit of Britain being reluctantly awakened from a frosty slumber. One can virtually hear his teeth chatter. The choral pieces are just as effective, and the instrumental playing, including the oboe obbligato in Bid the Virtues, is lovely as well. There is spirit here when it is called for, and pathos as well. Although such definitive pieces as “Dido’s Lament” are not here, this collection would be an excellent introduction to Purcell as a reminder of his range for those whose know him well.


FANFARE: Michael Ullman

At the age of 20, Henry Purcell entered his 14 Fantasias and two In Nomines into an autograph bearing the title ‘The Works of Hen; Purcell, A.D. 1680’. Despite his youth Purcell was already making his mark as a composer, writing music for the London theatres and holding posts at Westminster Abbey and at court. But unlike his works for the theatre and the church, which were intended for specific occasions, very little is known about the impulse behind fantasias. Composed for between three and seven parts they are a consciously anachronistic distillation of an old style at a time when the reigning taste was for more modern sounds – for dance-based music with lively rhythms and hummable tunes. It isn’t even clear what kind of ensemble they were intended for: given the association with older music, one might assume that Purcell had viols in mind, but the distribution of the parts is not always in keeping with the standard sizes of the viol consort – nor for that matter those of the violin consort.

Were the fantasias in fact ever performed? None of these questions has a satisfactory answer, and in this respect the Purcell Fantasias resemble Bach’s The Art of the Fugue, because of their quality and inventiveness but also owing to the mysteries that surround them. The collection is here performed by Chelys Consort of Viols, following up on three previous and acclaimed releases on BIS featuring the music of Michael East, John Dowland, and Christopher Simpson.

REVIEW:

The Chelys readings, clean and rather circumspect, merit strong consideration for those interested in these youthful and intellectual Purcell works. Nicely recorded by BIS at Girton College Chapel, Cambridge, they don't overdo the mystery: the sound is clean and the polyphony clear. The pungent dissonances scattered through these works, which were a feature of the tradition (not just of Purcell's pieces), emerge with the proper emphasis, but the Consort does not lean into them unnecessarily.

-- AllMusic.com (James Manheim)

Henry Purcell was a genius whose ability to combine French and Italian influences transported the English language to new levels of expression in music. Dido and Aeneas was pioneering in its day and is considered one of Purcell’s foremost theatrical works, with a moving tale of love, betrayal and tragedy that has proved to be of unceasing appeal to audiences for centuries. Deborah Warner’s brilliant stage direction combines period color with present-day dynamism, while William Christie’s affection for this opera shines through in an overwhelmingly acclaimed performance filmed in December 2008 at the Opéra Comique in Paris.

REVIEW:

Deborah Warner’s production of Dido and Aeneas has taken a long time to reach us. It was filmed in December 2008 at the Opéra Comique in Paris, and the production was much admired when it was new. It has by and large been worth the wait.

Costumes are period (Purcell’s period, not that of ancient Carthage) for the main characters, with contemporary street clothes for most others.

The musical side of things is a real strength here. Christopher’s Maltman’s Aeneas is firm of voice, although his character is not so firm of purpose and the baritone does not try to make him more sympathetic than the tale justifies. He gets this just right in his stage manner, and sings as well as anyone has in the role I think.

Dido is Swedish mezzo-soprano Malena Ernman is excellent in this moving role, which is so central to the success of any production. From her first confession to Belinda that she is “pressed with torment” through to her “When I am laid in earth” and poignant cries of “Remember me” she combines pathos with queenly dignity, except in her rage at Aeneas’s announcement of his departure. The whole scene of Dido’s lament can rarely have been staged, directed and sung so well live.

The other roles are all well taken, the Belinda of Judith van Wanroij being especially attractive vocally and in stage deportment. The choral work is good, the fine instrumentalists of Les Arts Florissants make an appealing period sound, and the direction of William Christie has his customary authority in such repertoire. Warner’s direction is sure-footed and unfussy, and the stage business she invents to go with the dance music moments is always plausible.

-- MusicWeb International (Roy Westbrook)