The Complete Secular Solo Songs Of Henry Purcell

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The Complete Secular Solo Songs Of Henry Purcell

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dc.contributor.other Henry Purcell es
dc.contributor.other Barbara Bonney es
dc.contributor.other Susan Gritton es
dc.contributor.other James Bowman es
dc.contributor.other Rogers Covey-Crump es
dc.contributor.other Charles Daniels es
dc.contributor.other Michael George es
dc.contributor.other The King's Consort es
dc.date.accessioned 2014-03-17T14:43:52Z
dc.date.available 1994
dc.date.available 2014-03-17T14:43:52Z
dc.date.issued 2014-03-17
dc.identifier.uri http://hdl.handle.net/123456789/3993
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 CD 3-- She loves and she confesses too Z413-- Amintas to my grief I see Z356-- Corinna is divinely fair Z365-- Amintor heedless of his flocks Z357-- He himself courts his own ruin Z372-- No to what purpose should I speak! Z468-- Sylvia 'tis true you're fair Z512-- Lovely Albina's come ashore Z394-- Spite of the godhead pow'rful love Z417-- If music be the food of love (third version) Z379C-- Phillis I can ne'er forgive it Z408-- Bacchus is a pow'r divine Z360-- From silent shades ("Bess of Bedlam") Z370-- Let formal lovers still pursue Z391-- I came I saw and was undone Z375-- Who can behold florella's charms? Z441-- Cupid the slyest rogue alive Z367-- If pray'rs and tears Z380-- In cloris all soft charms agree Z384-- Let us kind Lesbia give away Z466-- Love is now become a trade Z393-- Ask me to love no more Z358-- O solitude my sweetest choice! Z406-- Olinda in the shades unseen Z404-- Pious Celinda goes to prayers Z410-- When Strephon found his passion vain Z435-- The fatal hour comes on apace Z421-- Sawney is a bonny lad Z412-- Young thirsis' fate Z473-- es
dc.format.extent 76:28min es
dc.format.medium 1 CD Rom (76 min., 28 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcc 829328497 es
dc.subject.lcsh Songs es
dc.title The Complete Secular Solo Songs Of Henry Purcell es
dc.title.alternative The Complete Secular Solo Songs Of Henry Purcell es
dc.language.rfc3066 eng es
dc.rights.holder Hyperion Records Ltd. es
dc.identifier.classification 034571141619 es
dc.subject.cdu Pur.09 es


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Files Length Size Format View Description
1. I love and I ... Barr') Z382 - Completo.wav 2:48 28.23Mb WAV audio wav
2. When her lan ... love!' Z432 - Completo.wav 55 9.257Mb WAV audio wav
3. Not all my t ... y move Z400 - Completo.wav 2:27 24.79Mb WAV audio wav
4. Ah! cruel nymph! Z352 - Completo.wav 2:34 25.88Mb WAV audio wav
5. Sylvia, now ... e over Z420 - Completo.wav 30 5.041Mb WAV audio wav
6. Since one po ... heart Z416 - Completo.wav 33 5.620Mb WAV audio wav
7. I resolve ag ... hining Z386 - Completo.wav 54 9.139Mb WAV audio wav
8. Gentle sheph ... t know Z464 - Completo.wav 6:07 61.72Mb WAV audio wav
9. If grief has ... o kill Z378 - Completo.wav 1:33 15.62Mb WAV audio wav
10. She that wo ... lover Z414 - Completo.wav 2:20 23.52Mb WAV audio wav
11. Fly swift ye hours Z369 - Completo.wav 5:16 53.21Mb WAV audio wav
12. Hears not m ... song') Z371 - Completo.wav 2:27 24.66Mb WAV audio wav
13. Phillis tal ... assion Z409 - Completo.wav 2:01 20.33Mb WAV audio wav
14. Celia's fon ... 'd her Z364 - Completo.wav 1:41 16.96Mb WAV audio wav
15. In vain we dissemble Z385 - Completo.wav 2:13 22.31Mb WAV audio wav
16. When my Aemelia smiles Z434 - Completo.wav 2:06 21.24Mb WAV audio wav
17. Farewell y ... sands Z463 - Completo.wav 3:12 32.28Mb WAV audio wav
18. What a sad fate is mine Z428A - Completo.wav 2:40 26.88Mb WAV audio wav
19. I take no p ... beams Z388 - Completo.wav 1:47 18.06Mb WAV audio wav
20. Love's pow' ... liance Z395 - Completo.wav 40 6.694Mb WAV audio wav
21. How delight ... swain Z373 - Completo.wav 2:15 22.69Mb WAV audio wav
22. She who my ... sesses Z415 - Completo.wav 1:42 17.21Mb WAV audio wav
23. Love arms h ... s eyes Z392 - Completo.wav 2:53 29.06Mb WAV audio wav
24. When first ... and I Z431 - Completo.wav 1:24 14.19Mb WAV audio wav
24. When first ... and I Z431 - Completo.wav 1:24 14.19Mb WAV audio wav
25. Through mou ... groves Z424 - Completo.wav 3:18 33.28Mb WAV audio wav
26. If music be ... sion) Z379B - Completo.wav 1:57 19.74Mb WAV audio wav
27. Scarce had ... pear'd Z469 - Completo.wav 1:02 10.50Mb WAV audio wav
28. Who but a s ... xpress Z440 - Completo.wav 2:03 20.75Mb WAV audio wav
29. High on a t ... ng ore Z465 - Completo.wav 5:12 52.56Mb WAV audio wav

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