Birthday Odes for Queen Mary

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Birthday Odes for Queen Mary

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dc.contributor.other Henry Purcell es
dc.contributor.other The Early Music Consort of London es
dc.contributor.other David Munrow es
dc.date.accessioned 2013-09-06T16:23:01Z
dc.date.available 1976
dc.date.available 2013-09-06T16:23:01Z
dc.date.issued 2013-09-06
dc.identifier.uri http://hdl.handle.net/123456789/3855
dc.description.abstract As England's greatest composer of the Baroque, Henry Purcell was dubbed the "Orpheus Britannicus" for his ability to combine pungent English counterpoint with expressive, flexible, and dramatic word settings. While he did write instrumental music, including the important viol fantasias, the vast majority of his output was in the vocal/choral realm. His only opera, Dido and Aeneas, divulged his sheer mastery in the handling of the work's vast expressive canvas, which included lively dance numbers, passionate arias and rollicking choruses. Purcell also wrote much incidental music for stage productions, including that for Dryden's King Arthur. His church music includes many anthems, devotional songs, and other sacred works, but few items for Anglican services. Purcell was born in 1659 to Henry Purcell, master of choristers at Westminster Abbey, and his wife Elizabeth. When he was five, his father died, forcing his mother to resettle the family of six children into a more modest house and lifestyle. In about 1668, Purcell became a chorister in the Chapel Royal, studying under chorus master Henry Cooke. He also took keyboard lessons from Christopher Gibbons, son of the composer Orlando Gibbons, and it is likely that he studied with John Blow and Matthew Locke. In 1673, Purcell was appointed assistant to John Hingeston, the royal instrument keeper. On September 10, 1677, Purcell was given the Court position of composer-in-ordinary for the violins. It is believed that many of his church works date from this time. Purcell, a great keyboard virtuoso by his late teens, received a second important post in 1679, this one succeeding Blow as organist at Westminster Abbey, a position he would retain all his life. That same year saw the publication of five of the young composer's songs in John Playford's Choice Ayres and Songs to Sing to the Theorbo-lute or Bass-viol. Around the same time, he began writing anthems with string accompaniment, completing over a dozen before 1685, and welcome songs. Purcell was appointed one of three organists at the Chapel Royal in the summer of 1682, his most prestigious post yet. Purcell composed his first ode for St. Cecilia's Day in 1683. The following month, upon Hingeston's death, he was named royal instrument keeper while retaining his other posts. The composer remained quite prolific in the middle part of the decade, primarily producing music for royal occasions. In 1685 the new King, James II, introduced many changes at Court, one of which was to make Purcell the Court harpsichordist and Blow the Court composer. Near the end of 1687, Queen Mary's pregnancy was announced and Purcell was commissioned to compose an anthem for Psalm 128, Blessed are they that fear the Lord. Many other of his anthems appeared in 1688, as did one of his more famous ones for church use, O sing unto the Lord. With the ascension of William and Mary to the throne on April 11, 1689, Purcell retained his post as royal instrument keeper, and he, along with Blow and Alexander Damazene, shared the duties of Court composers. With his royal duties reduced, he was able to pursue other opportunities, including teaching and writing for other organizations. One of Purcell's greatest successes came in 1689 with the production of Dido and Aeneas. He then collaborated with John Dryden on King Arthur in 1691, and also composed the music for The Fairy-Queen (1692), based on Shakespeare's A Midsummer Night's Dream both productions also scoring triumphs. In the final year of his life Purcell remained exceedingly busy, writing much for the stage, including The Indian Queen, left incomplete at his death on November 21, 1695. © Robert Cummings, All Music Guide es
dc.description.tableofcontents Come ye sons of art (1694) ; Symphony : (Largo, Allegro, Adagio), Ritornello verse and chorus : Come ye sons of art, Verse : Sound the trumpet, ), Ritornello and chorus : Come ye sons of art, Verse and ritornello : Strike the viol, Verse and chorus : The day that such a blessing, Verse : Bid the virtues, Verse : These are the sacred charms, Verse and chorus : See nature rejoicing-- Love’s goddess sure (1962) ; Symphony, Verse and ritornello : Love’s goddess sure, Verse : Those eyes that form, Verse : Sweetness of nature, Verse and chorus : Long may she reign, Verse and ritornello : May her blest example, Verse and ritornello : Many such days, Chorus : May she to heaven, Verse and chorus : As much as we-- es
dc.format.extent 49:36min es
dc.format.medium 1 CD Rom (49 min., 36 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcsh Symphonies es
dc.title Birthday Odes for Queen Mary es
dc.title.alternative Birthday Odes for Queen Mary es
dc.language.rfc3066 eng es
dc.identifier.classification 0077776348223 es
dc.subject.cdu Pur.02 es


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Come ye sons of art (1694) - Completo.wav 25:50 260.6Mb WAV audio wav
Love’s goddess sure (1962) - Completo.wav 46:23 468.2Mb WAV audio wav

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