The Complete Sacred Music of Henry Purcell

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The Complete Sacred Music of Henry Purcell

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dc.contributor.other Henry Purcel es
dc.contributor.other Roberth King es
dc.contributor.other Choir of New College, Oxford es
dc.contributor.other Choir of the King's Consort es
dc.contributor.other The King's Consort es
dc.coverage.spatial Choruses, Sacred (Mixed voices) with string orchestra -- Choruses, Sacred (Mixed voices) with chamber orchestra -- Anthems -- Hymns -- es
dc.date.accessioned 2014-06-12T22:43:20Z
dc.date.available 2002
dc.date.available 2014-06-12T22:43:20Z
dc.date.issued 2014-06-12
dc.identifier.uri http://hdl.handle.net/123456789/4541
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 CD6 Why do the heathen so furiously rage together?, Z65 -- Lord, who can tell how oft he offendeth?, Z26 -- O Lord, grant the King a long life, Z38 -- Hear me, O Lord, the great support, Z133 -- Thou wakeful shepherd that does Israel keep (A Morning Hymn), Z198 -- Who hath believed our report?, Z64 -- I will love thee, O Lord, ZN67 -- Great God and just, Z186 -- Plung'd in the confines of despair, Z142 -- O praise the Lord, all ye heathen, Z43 -- My heart is fixed, O God, Z29-- es
dc.format.extent 64:19 Min. es
dc.format.medium 1 CD Rom (64 min.,19 seg) : Stereo 4 3/4 plg es
dc.language.iso en es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 52530238 es
dc.subject.lcsh Choruses, Sacred (Mixed voices) with string orchestra -- Choruses, Sacred (Mixed voices) with chamber orchestra -- Anthems -- Hymns -- es
dc.title The Complete Sacred Music of Henry Purcell es
dc.title.alternative Vocal Music es
dc.title.alternative La Música Sagrada completa de Henry Purcell es
dc.language.rfc3066 Eng es
dc.rights.holder Hyperion Records Ltd es
dc.identifier.classification 034571141411 es
dc.subject.cdu Pur.11 es


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Files Length Size Format View Description
1. Why do the h ... usly rage together Z65.wav 10:42 108.0Mb WAV audio Wav
2. Lord who can tell how oft he offendeth Z26.wav 4:17 43.21Mb WAV audio Wav
3. O Lord grant the King a long life Z38.wav 8:10 82.43Mb WAV audio Wav
4. Hear me O Lord the great support Z133.wav 5:48 58.55Mb WAV audio Wav
5. Thou wakeful ... (A Morning Hymn) Z198.wav 2:54 29.27Mb WAV audio Wav
6. Who hath believed our report Z64.wav 8:28 85.38Mb WAV audio Wav
7. I will love thee O Lord ZN67.wav 6:05 61.41Mb WAV audio Wav
8. Great God and just Z186.wav 3:56 39.64Mb WAV audio Wav
9. Plung's the confines of despair Z142.wav 4:43 47.62Mb WAV audio Wav
10. O praise the Lord all ye heathen Z43.wav 2:57 29.82Mb WAV audio Wav
11. My heart is fixed O God Z29.wav 8:26 85.12Mb WAV audio Wav

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