Author Topic: The Purcell Thread  (Read 27731 times)

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Offline vers la flamme

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Re: The Purcell Thread
« Reply #180 on: September 16, 2020, 02:33:18 PM »
@Jo, I have the recording on Erato. I did really enjoy it this morning, as I listened to the whole thing for the first time. Thanks for the recs, I will look into Parrott as I've been enjoying one of his Handel recordings. Thanks a lot for all of your help lately, by the way, as I've been exploring Baroque music. Your posts have been helpful in guiding me in some interesting directions.

Offline Scion7

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Re: The Purcell Thread
« Reply #181 on: September 17, 2020, 03:15:45 AM »



         
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Online MusicTurner

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Re: The Purcell Thread
« Reply #182 on: September 17, 2020, 03:27:10 AM »
Yes, D&A would definitely be the chosen, single work by Purcell - in an oeuvre, where really impressive or catchy pieces seem rather few and far between, compared to other great composers from that period, IMHO ... I've discovered though that, like for most composers, recordings mean a lot for appreciating the music.
« Last Edit: September 17, 2020, 03:29:03 AM by MusicTurner »

Offline vers la flamme

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Re: The Purcell Thread
« Reply #183 on: September 17, 2020, 03:38:53 PM »
Yes, D&A would definitely be the chosen, single work by Purcell - in an oeuvre, where really impressive or catchy pieces seem rather few and far between, compared to other great composers from that period, IMHO ... I've discovered though that, like for most composers, recordings mean a lot for appreciating the music.

That's a shame. I liked Dido & Aeneas, but I never like hearing that the one work I discovered and enjoyed by a new composer (new to me, that is) is far and away his or her best work.

Offline Scion7

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Re: The Purcell Thread
« Reply #184 on: September 17, 2020, 04:44:52 PM »
Yes, D&A would definitely be the chosen, single work by Purcell - in an oeuvre, where really impressive or catchy pieces seem rather few and far between ....

Have you really listened to all of his output? 
That's sort of an unqualified blanket statement - I haven't even heard half of this.


(this is not complete, obviously ... )

Stage Works
    =Operas and Semi-Operas   
    =   Dido and Aeneas, Z.626 (opera)   
    =   King Arthur or the British Worthy, Z.628 (semi-opera)   
    =   Pausanius, the Betrayer of His Country, Z.585 (tragedy)   
    =   Prophetess, or The History of Dioclesian, Z.627 (semi-opera)   
    =   The Fairy Queen, Z.629 (semi-opera)   
    =   The Indian Queen, Z.630 (semi-opera)   
    =   The Tempest, Z.631 (semi-opera)   
    =   Timon of Athens, Z.632 (semi-opera)   

Incidental Music
    =   A Fool's Preferment, or, The Three Dukes of Dunstable, Z.571 7 
    =   Abdelazer, or The Moor's Revenge, Z.570 61 
    =   Amphitryon, or the 2 Sosias, Z.572 29 
    =   Aureng-Zebe, or the Great Mogul, Z.573 4 
    =   Bonduca, or The British Heroine, Z.574 19 
    =   Circe, Z.575 11 
    =   Cleomenes, the Spartan Hero, Z.576 1 
    =   Distressed Innocence, or, the Princess of Persia, Z.577 13 
    =   Don Quixote, Z.578 15 
    =   Epsom Wells, Z.579 1 
    =   Henry II, King of England, Z.580 1 
    =   Love Triumphant, or Nature Will Prevail, Z.582 1 
    =   Oedipus, Z.583 27 
    =   Oroonoko, Z.584 1 
    =   Pausanius, Z.585 3 
    =   Regulus, or the Faction of Carthage, Z.586 1 
    =   Rule a Wife and Have a Wife, Z.587 3 
    =   Sir Anthony Love, or the Rambling Lady, Z.588 5 
    =   Sir Barnaby Whigg, or No Wit Like a Woman's, Z.589 2 
    =   Sophonisba, or Hannibal's Overthrow, Z.590 2 
    =   Spanish Friar, or the Double Discovery, Z.610 1 
    =   The Canterbury Guests, or A Bargain Broken, Z.591 1 
    =   The Double Dealer, Z.592 5 
    =   The English Lawyer, Z.594 1 
    =   The Fatal Marriage, or the Innocent Adultery, Z.595 2 
    =   The Female Virtuosos, Z.596 1 
    =   The Gordian Knot Unty'd, Z.597 40 
    =   The History of King Richard II, or, The Sicilian Usurper, Z.581 3 
    =   The Indian Emperor, or The Conquest of Mexico, Z.598 1 
    =   The Knight of Malta, Z.599 1 
    =   The Libertine, or the Libertine Destroyed, Z.600 7 
    =   The Maid's Last Prayer, or Any Rather than Fail, Z.601 4 
    =   The Marriage-Hater Match'd, Z.602 2 
    =   The Married Beau, or the Curious Impertinent, Z.603 37 
    =   The Massacre of Paris, Z.604 1 
    =   The Mock Marriage, Z.605 6 
    =   The Old Bachelor, Z.607 8 
    =   The Richmond Heiress, or, A Woman Once in the Right, Z.608 2 
    =   The Rival Sisters, or the Violence of Love, Z.609 6 
    =   The Virtuous Wife, or Good Luck at Last, Z.611 27 
    =   The Wives' Excuse, or Cuckolds Make Themselves, Z.612 3 
    =   Theodosius, or the Force of Love, Z.606 9 
    =   Tyrannic Love, or the Royal Martyr, Z.613 3 
    =   Dioclesian, Z.627 1 
    =   The Fairy Queen Suite, Z.629 17 
    =   The Prophetess Suite, Z 627 5 
    =   King Arthur Suite, Z.628

Keyboard Works   
    =Harpsichord Works   
    =   A New Ground in E- (originally from 'Welcome to All the Pleasures'), Z.682 17 
    =   Trumpet Tune (from 'The Indian Queen' as Z. 630/4a) for harpsichord in C ZT 698 1 
    =   A New Irish Tune ('Lilliburlero') in G, Z.646 8 
    =   A New Minuet in D-, Z.689 1 
    =   A New Scotch Tune in G, Z.655 3 
    =   Air in G, Z.641 3 
    =   Chaconne in G- (Curtain tune from 'Timon of Athens'), Z.680 7 
    =   Ground in C- (from 'Ye tuneful muses'), Z.681 4 
    =   Ground in C-, Z.221 (doubtful) 8 
    =   Ground in D-, (from 'Celebrate This Festival'), Z.222 (doubtful) 7 
    =   Ground in Gamut in G, Z.645 10 
    =   Hornpipe in E-, Z.685 2 
    =   Hornpipe in Bb (from 'The Virtuous Wife'), Z.683 1 
    =   Hornpipe in D- ('Round O' from 'Abdelazar'), Z.684 5 
    =   Jig in G- (from 'Abdelazar'), Z.686 2 
    =   Keyboard Suite in C (arr. M. Nuber; cadenza and ornamentation by B. Kratzer) 1 
    =   March in C, Z.647 1 
    =   March in C, Z.648 3 
    =   Minuet (from 'Ye Tuneful Muses') in D-, Z.688 1 
    =   Minuet in A-, Z.649 1 
    =   Minuet in A-, Z.650 1 
    =   Miscellaneous pieces from Oxford manuscripts 2 
    =   Musick's Handmaid 12 
    =   Queen's Dolour in A-, Z.670 (doubtful) 1 
    =   Rigadoon in C, Z.653 3 
    =   Round-O (Rondo), Z.684 3 
    =   Saraband in A-, Z.654 2 
    =   Sefauchi's Farewell in D-, Z.656 4 
    =   8 Suites, Z.660-669 214 
    =   Toccata in A, Z.229 (doubtful) 1 
    =   Trumpet Minuet in D (from 'The Virtuous Wife') 1 
    =   Trumpet Tune in C ('Cibell'), Z.678 6 
    =   Voluntary for Double Organ, Z.719 4 
    =   Trumpet Tune and Air (excerpt), for keyboard 1 
    =   Trumpet Tune in C, (from 'Prophetess'), for harpsichord, ZT 697 2 
    =   A Choice Collection of Lessons for the Harpsichord, Suite No.2 in G-, Z. 661 13 
    =   Hornpipe for harpsichord in E- (from 'The Old Bachelor' Z.607/4), ZT685 1 
    =   A Choice Collection of Lessons, Suite No.4 in A-, Z.663 8 
    =   A Choice Collection of Lessons, Suite No.1 in G, Z.660 4 
    =   A Choice Collection of Lessons, Suite No.3 in G, Z.662 3 
    =   A Choice Collection of Lessons, Suite No.5 in C, Z.666 4 
    =   A Choice Collection of Lessons, Suite No.6 in D, Z.667 3 
    =   A Choice Collection of Lessons, Suite No.7 in D-, Z.668 3 
    =   A Choice Collection of Lessons, Suite No.8 in F, Z.669 4 

Organ Works 
    =   Air (unspecified)   
    =   Trumpet Tune in D 
    =   Trumpet Voluntary in D (possibly by Blow)   
    =   Verse in F, Z.716   
    =   Verse in the Phrygian mode, Z.126   
    =   Voluntary in C, Z.717 
    =   Voluntary in D-, Z.718   
    =   Voluntary in G, Z.720   
    =   Voluntary on the 100th Psalm in A, Z.721   
    =   Slow Air, for organ, Z.603 

Chamber Works 
    =   Fantasias for Viol Consort   
    =   15 Fantasias for viols, D.732-747   
    =   9 Fantasia a 4 

Overtures 
    =   Overture and Suite in G, Z.770   
    =   Overture in D-, Z.771   
    =   Overture in G-, Z.772   
    =   The Staircase Overture, Z.614   

Pavans 
    =   Pavan in A, Z.748 
    =   Pavan in A-, Z.749   
    =   Pavan in Bb for 2 Violins, Z.750   
    =   Pavan in G-, Z.751   
    =   Pavan in G- for 3 Violins, Z.752   
    =   Pavane and Chaconne   
    =   Pavan à 4 'Here begineth ye 3 part Fantazias'   

Trio Sonatas and Other Chamber Sonatas 
    =   Sonata a4 No.1 in B-, Z.802 3 
    =   Sonata a4 No.2 in Eb, Z.803 3 
    =   Sonata a4 No.3 in A-, Z.804 5 
    =   Sonata a4 No.4 in D-, Z.805 4 
    =   Sonata a4 No.5 in G-, Z.806 5 
    =   Sonata a4 No.6 in G-, Z.807 8 
    =   Sonata a4 No.7 in C, Z.808 3 
    =   Sonata a4 No.8 in G-, Z.809 4 
    =   Sonata a4 No.10 in D, Z.811 8 
    =   Sonata a5 in D, Z.850 3 
    =   Trio Sonata in G-, Z.780 11 
    =   Trio Sonata No.1 in G-, Z.790 8 
    =   Trio Sonata No.11 in F-, Z.800 3 
    =   Trio Sonata No.2 in Bb, Z.791 7 
    =   Trio Sonata No.3 in D-, Z.792 6 
    =   Trio Sonata No.4 in F, Z.793 3 
    =   Trio Sonata No.5 in A-, Z.794 3 
    =   Trio Sonata No.6 in C, Z.795 9 
    =   Trio Sonata No.7 in E-, Z.796 5 
    =   Trio Sonata No.8 in G, Z.797 7 
    =   Trio Sonata No.9 in C-, Z.798 5 
    =   Trio Sonata No.9 in F ('The Golden Sonata'), Z.810 12 
    =   Trio Sonata No.10 in A, Z.799 3 
    =   Trio Sonta No.12 in D, Z.801

    =   Sonata in C, for trumpet, strings and organ 3 
    =   Trumpet Sonata in D, Z.850 48 
    =   Trumpet tune and aire (unspecified) 1 
    =   Air en Bourée (unspecified) 1 
    =   Air for Trumpet and Organ (unspecified) 1 
    =   Chaconne in F for Recorder and Organ 1 
    =   Chaconne in F for Recorder 1 
    =   Chaconne in G- for 4 Strings, Z.730 25 
    =   Fantasia in D upon a Ground for 3 Violins and Continuo, Z.731 7 
    =   Jig (unspecified), for guitar 1 
    =   March and Canzona for the Funeral of Queen Mary, for 4 trumpets, Z.860 25 
    =   Minuet (unspecified) 1 
    =   Prelude in F for Solo Recorder 1 
    =   Prelude in G- for Solo Violin, Z.773 2 
    =   Theater Suite, for chamber ensemble 6 
    =   Prelude, for violin (or recorder) solo in G-, ZN 773 2 
    =   Suite for Trumpet and Organ 8 
    =   Air, for the flute 1 
    =   In Nomine of seven parts, for chamber ensemble 3 
    =   In Nomine of six parts, for chamber ensemble, Z.746 3 
    =   Three Parts Upon a Ground, for chamber ensemble 3 
    =   A New Ground, for harpsichord, Z.T682 1 
    =   Here, the deities approve, for chamber ensemble 2 
    =   Chacony in G-, for chamber ensemble, Z.730 1 
    =   Symphony for the Flutes, for chamber ensemble 2 
    =   Strike the viol, for chamber ensemble 1 
    =   Suite in G, Z.770 1 
    =   Who can from joy refrain ?, Z.342 5 
    =   Crown the altar, deck the shrine, Z.321/6 1 
    =   Music for a while, for chamber ensemble 1 
    =   Prelude in D (arr. for Chamber Ensemble)

Vocal Works
    =   Anthems   
    =   Behold now, praise the Lord, anthem for alto, tenor, bass, chorus, 2 violins, viola and continuo, Z.3 1 
    =   Blessed is he whose unrighteousness is forgiven, anthem, for 2 sopranos, alto, 2 tenors, bass, chorus and continuo, Z.8 1 
    =   Blow up the trumpet in Sion, for soloists, chorus and continuo, Z.10 (anthem) 4 
    =   Hear me, O Lord, the great support, sacred song for alto, tenor, chorus and continuo, Z.133 2 
    =   Hear my prayer, O God, for alto, tenor, bass, chorus and organ, Z.14 (anthem) 2 
    =   Hear my prayer, O Lord, for chorus, violins and continuo, Z.15 (unfinished anthem) 13 
    =   I Was Glad When They Said Unto Me, for alto, tenor, bass, chorus, string and organ, Z.19 (anthem) 5 
    =   I will love Thee, O Lord, anthem for bass, chorus and organ, Z.67 1 
    =   I will sing unto the Lord, for soloists, chorus and organ, Z.22 (anthem) 2 
    =   In the midst of life, for soloists, chorus and organ, Z.17a (anthem) 2 
    =   Let mine eyes run down with tears, for soloists, chorus and organ, Z.24 (anthem) 2 
    =   Lord, how long wilt Thou be angry, for alto, tenor, bass, chorus and organ, Z.25 (anthem) 4 
    =   Man that is born of a woman, for soprano, alto, tenor, chorus and organ, Z.27 (anthem) 2 
    =   My beloved spake, for alto, tenor, 2 basses, chorus, strings and continuo, Z.28 (anthem) 3 
    =   My heart is inditing, anthem for 2 sopranos, altos, tenors, basses, double chorus, strings and continuo, Z.30 4 
    =   O God the king of glory, for chorus and organ, Z.34 (anthem) 1 
    =   O God, thou art my god, for 2 sopranos, alto, tenor, bass, double chorus and organ, Z.35 (anthem) 3 
    =   O God, Thou hast cast us out, for 2 sopranos, 2 altos, tenor, bass, chorus and organ, Z.36 (anthem) 2 
    =   O Lord, our Governor, anthem for 3 sopranos, 2 basses, chorus and organ, Z.39 1 
    =   O sing unto the Lord, anthem for soprano, alto, tenor, 2 basses, chorus, 2 violins, viola and organ, Z.44 1 
    =   Out of the deep have I called, anthem for soprano, alto, bass, chorus and continuo Z.45 1 
    =   Praise the Lord, O Jerusalem, for 2 sopranos, alto, tenor, bass, chorus, 2 violins, viola and organ, Z.46 (anthem) 1 
    =   Rejoice in the Lord alway, Z.49 ('Bell Anthem') 5 
    =   Remember not, Lord, our offences, for chorus and organ, Z.50 (anthem) 10 
    =   Thou know'st, Lord (1st version of 1st setting), for chorus and organ, Z.58a (anthem) 2 
    =   Thou know'st, Lord (2nd version of 1st setting), for soprano, alto, tenor, bass, chorus and organ, Z.58b (anthem) 3 
    =   Who hath believed our report?, anthem for alto, 2 tenors, bass, chorus and organ, Z.64 1 
    =   O Lord, rebuke me not, anthem for 2 sopranos, chorus and organ, Z.40 1 
    =   Blessed is he that considereth the poor, Z.7 (anthem) 1 
    =   Lord, not to us, Z.137 (anthem) 1 

Odes   
    =   Celebrate this Festival (Birthday Ode for Queen Mary), Z.321 23 
    =   Come Ye Sons of Art Away (Birthday Ode for Queen Mary), Z.323 35 
    =   Fly Bold Rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings and continuo, Z.324 2 
    =   Hail, Bright Cecilia (Ode for St. Cecilia's Day), Z.328 40 
    =   Love's Goddess Sure Was Blind (Birthday Ode for Queen Mary), Z.331 10 
    =   Now Does the Glorious Day Appear (Ode for Queen Mary's Birthday), for soloists, chorus, violins and continuo, Z.332 16 
    =   Of Old, When Heroes Thought it Base ('Yorkshire Feast Song'), Z.333 (ode) 28 
    =   Raise, Raise the Voice (Ode for St. Cecilia's day), for soprano, bass, chorus, 2 violins and continuo, Z.334 1 
    =   Sound the Trumpet, Beat the Drum (Welcome Ode for James II), Z.335 5 
    =   Swifter, Isis, Swifter Flow (Welcome Song for Charles II), for soloists, chorus and instruments, Z.336 1 
    =   The Noise of Foreign Wars (unfinished ode) 1 
    =   Welcome to all the Pleasures (Ode for St. Cecilia's Day), Z.339 34 
    =   Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings and continuo, Z.335 1 

Musical Services 
    =   Burial Service (for the funeral of Queen Mary), Z.27 16 
    =   Morning Service in D, for soloists, chorus and orchestra, Z.230 3 

Other Sacred Vocal Works   
    =   An Evening Hymn, Z.193 2 
    =   Beati omnes, for soprano, bass, chorus and continuo, Z.131 (hymn) 1 
    =   Blessed is the Man that Feareth the Lord, for 3 voices and continuo, Z.9 1 
    =   Christ is Made the Sure Foundation (hymn set to a theme by Purcell) 6 
    =   Hosanna to the Highest, for bass, chorus, and continuo, Z.187 1 
    =   How Long, Great God?, for soprano and continuo, Z.189 3 
    =   In Guilty Night, Z.134 3 
    =   Jehova, quam multi sunt, sacred song for tenor, bass, chorus and continuo, Z.135 7 
    =   Let the Night Perish (Job's Curse), sacred song for soprano, chorus and continuo, Z.191 2 
    =   Lord, What is Man? for soprano and continuo, Z.192 9 
    =   Me O Ye Gods, for 2 voices and continuo 1 
    =   Miserere Mei (canon a4), Z.109 2 
    =   My Beloved Spake, Z.28 1 
    =   Now That the Sun Hath Veiled His Light ('An Evening Hymn on a Ground'), Z.193 20 
    =   O Sing Unto the Lord, Z.44 1 
    =   Since God So Tender a Regard, for tenor, bass, male chorus and continuo, Z.143 1 
    =   Sleep, Adam, for soprano and continuo, Z.195 2 
    =   Te Deum and Jubilate Deo, for soloists, chorus and instruments in D, Z.232 3 
    =   Tell Me, Some Pitying Angel ('The Blessed Virgin's Expostulation'), Z.196 11 
    =   The Earth Trembled, and Heav'n Closed, sacred song for bass (or soprano) and continuo, Z.197 2 
    =   Thou Wakeful Shepherd ('Morning Hymn'), for soprano and continuo, Z.198 3 
    =   We sing to Him whose wisdom form'd the ear, sacred song for soprano, chorus of soprano and basso continuo, Z.199 1 
    =   With Sick and Famish'd Eyes, sacred song for soprano and continuo, Z.200 2 
    =   I Will Give Thanks Unto Thee, O Lord, Z.20 1 
    =   Voluntary on the Old Hundredth, Z.721 (attrib. to J. Blow) 1 
    =   O Lord God of hosts, for chorus Z.37 1 
    =   Miserere mei, Z.109 1 
    =   Begin the Song (The Resurrection) 1 
    =   Give sentence with me, O God, for chorus, Z.12 1 

Secular Songs   
    =   'Tis women makes us love, catch for 4 voices, Z.281 1 
    =   A Prince, for voice and continuo 1 
    =   A Song in the Prophetess, for voice and continuo 1 
    =   Ah! cruel nymph! you give despair for soprano and continuo, Z.352 1 
    =   Ah! how pleasant 'tis to love, for soprano and continuo, Z.353 1 
    =   Amidst the Shades and Cool Refreshing Streams, Z.355 1 
    =   Amidst the Shades, for voice and continuo 1 
    =   As Amoret and Thirsis lay, song (from 'The Old Bachelor'), Z. 607/11 1 
    =   As Roger Last Night to Jenny Lay Close, catch for 3 voices, Z.242 1 
    =   Be Welcome, then, Great Sir, for 2 voices and continuo 1 
    =   But ah, I see Eusebia drown’d in tears, for voice and continuo 1 
    =   Cease, anxious World, for voice and continuo 1 
    =   Come, Let Us Drink, catch for 3 voices and continuo, Z.245 2 
    =   Corinna is divinely fair, song, Z.365 1 
    =   Cupid, the Slyest Rogue Alive, Z.367 2 
    =   Down, Down with Bacchus, catch for 3 voices, Z.247 1 
    =   Fairest Isle (from 'King Arthur'), aria for soprano, Z.628/38 1 
    =   Fly Swift, Ye Hours, Z.369 1 
    =   From Silent Shades and the Elysian Groves ('Bess of Bedlam'), Z.370 7 
    =   Fye Nay Prithee John 1 
    =   Hail Gracious Glorianna, Hail!, for 2 voices and continuo 1 
    =   Hail, bright Cecilia, Z.328 14 
    =   Hark, how the wild musicians sing, Z.542 1 
    =   Her charming strains, for voice and continuo 1 
    =   Here let my life, for 2 voices and continuo 2 
    =   How happy's the husband (from 'Love Triumphant'), song, Z. 582/1 1 
    =   How Pleasant is this Flowery Plain, for soprano, tenor, 2 recorders, and continuo, Z.543 1 
    =   I Gave Her Cakes and I Gave Her Ale, catch for 3 voices, Z.256 1 
    =   I lov'd fair Celia, Z.381 3 
    =   I Love and I Must, Z.382 1 
    =   If Ever I More Riches Did Desire, for 2 sopranos, tenor, bass, 2 violins, and continuo, Z.544 1 
    =   If Music Be the Food of Love, Z.379 24 
    =   Incassum, Lesbia, incassum rogas (on the death of Queen Mary), Z.383 5 
    =   Incassum, Lesbia, Z.383, 'Queen's Epicedium' 1 
    =   Lost is My Quiet Forever, for 2 voices and continuo, Z.502 4 
    =   Lovely Albina's Come Ashore, Z.394 2 
    =   Mad Bess of Bedlam ('From silent shades') 1 
    =   Music for a While (from 'Oedipus'), song, Z. 583/2 3 
    =   Music for a while, for voice and continuo 1 
    =   My Lady's Coachman, John, catch for 3 voices, Z.260 1 
    =   No, no resistance is but vain, for voice and continuo 1 
    =   Not All My Torments Can Your Pity Move, Z.400 5 
    =   Now that the sun hath veiled his light (An Evening Hymn on a Ground), Z.193 1 
    =   O dive custos Auriacae domus (On the death of Queen Mary), for 2 sopranos and continuo, Z.504 16 
    =   O how happy's he, Z.403 (incomplete; continuo lost) 1 
    =   O lead me to some peaceful gloom, for voice and continuo 2 
    =   O let me weep, for voice and continuo 1 
    =   O Solitude, My Sweetest Choice, Z.406 19 
    =   O! Fair Cedaria, Hide Those Eyes, Z.402 2 
    =   O, I’m sick of life, Z.140 (devotional song) 2 
    =   Olinda in the Shades Unseen, Z.404 2 
    =   On the brow of Richmond Hill, Z.405 1 
    =   Once, twice, thrice, I Julia tried, catch for 3 voices, Z.265 1 
    =   Pious Celinda goes to prayers, song, Z.410 2 
    =   Plung’d in the confines of despair, Z.142 (devotional song) 1 
    =   Pox on You for a Fop, catch for 3 voices, Z.268 1 
    =   Saccharissa's grown old, for 2 voices and continuo, Z.507 1 
    =   She Loves and She Confesses Too, Z.413 5 
    =   Since from my dear Astrea's sight (from 'Prophetess'), aria for soprano, Z. 627/App2 2 
    =   Sir Walter Enjoying His Damsel, catch for 3 voices, Z.273 1 
    =   Soft Notes and Gently Raised ('A Serenading Song'), Z.510 3 
    =   Stript of Their Green Our Groves Appear, Z.444 1 
    =   Sweeter than roses (from 'Pausanius'), song, Z. 585/1 3 
    =   Sweetness of Nature, for voice and continuo 1 
    =   The Fatal Hour Comes on Apace, Z.421 6 
    =   The Miller's Daugter Riding, catch for 3 voices, Z.277 1 
    =   The Night is Come, for 2 voices and continuo, Z.77 (doubtful) 1 
    =   The Plaint, for voice and continuo 1 
    =   Thrice happy lovers, for voice and continuo 1 
    =   Thus to a ripe, consenting maid (from 'Old Bachelor'), song, Z.607/10 1 
    =   Tom the Taylor 1 
    =   Urge Me No More, Z.426 1 
    =   What a sad fate is mine, Z.428 (2 versions) 3 
    =   What Can We Poor Females Do? for soprano and continuo, Z.429 1 
    =   What Hope for Us Remains Now He Is Gone?, On the Death of Matthew Locke, Z.472 1 
    =   When First Amintas Sued for a Kiss, Z.430 4 
    =   When her languishing eyes said 'love', song, Z.432 1 
    =   When on my sick bed I languish, Z.144 (devotional song) 1 
    =   Why, My Daphne, Why Complaining? for 2 voices and continuo, Z.525 1 
    =   Young Thyrsis' fate, ye hills and groves, deplore (On the death of Thomas Farmer), song for soprano, bass and continuo, Z.473 1 
    =   She That Would Gain a Faithfull Lover, for voice and ensemble, Z.414 1 
    =   The Comical History of Don Quixote, Z.578, Pt.3
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Online MusicTurner

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Re: The Purcell Thread
« Reply #185 on: September 17, 2020, 09:58:47 PM »
I wrote 'seem to', and IMHO, suggesting a certain openness to revising the opinion ... the famous 'Viola Fantasias' don't appeal much to me, I culled an Archiv recording and now have an EMI, somewhat livelier. Admittedly, it is quite introvert music. As regards the other instrumental works, I culled the trio sonatas, but I've still got the complete harpsichord works with Ruzickova; in both cases, the movements tend to be very/too short, to leave much of an impression. Concerning the vocal works, I've got around 10, including D&A and 'King Arthur' and a few more; the Naxos CD of the 'St Cecilia Ode' etc. has given a much better and livelier impression than the old Deller CD comprising that work. But overall, for multi-facetted Baroque composers, I'd personally choose Monteverdi, Bach, Vivaldi, Rameau, Telemann and Haendel, probably also Zelenka, and maybe more, rather than Purcell, based on what I have heard. If there are some further great works out there, I'd only be pleasantly surprised.
« Last Edit: September 19, 2020, 02:23:30 PM by MusicTurner »

Offline Jo498

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Re: The Purcell Thread
« Reply #186 on: September 17, 2020, 10:34:24 PM »
Purcell's output was huge for someone who died so young. As it was mostly music for particular occasions and functions it is to be expected that not everything is on an exalted level. I love the harpsichord music but it can hardly be denied that it is not major in the way of Couperin or Bach, or even Handel. The chamber music is rather early and the fantazias are highly respected but the zenith of the viol ensemble had been almost two generations past. Whereas the two dozen trio sonatas are rather early in the history of the genre and we tend to be more familiar with the post-Corellian standard or with the more extravagant style of Buxtehude or Biber.

I have heard only a subset (usually the most popular) of the anthems and church music but there are  certainly great pieces among them, like the St Cecilia music or the "Bell Anthem" (Rejoice in the Lord alway) I also have to admit that I am probably even less familiar with 1680s French or German church music, again only having heard isolated famous works by Charpentier or Biber etc.

The problem with some or Purcell's best works like Fairy Queen and King Arthur (and the lesser semi-operas) is that they are difficult to present nowadays. I have seen an entertaining somewhat postmodern staging of King Arthur but as a whole it is a silly piece (including not only the beautiful "Fairest isle" (i.e. Britain) but down-to-earth praise of Britain's wool and milk production) and as I wrote above the music is often not for the most important scenes and characters, i.e. the protagonists do not sing at all. The music is every bit as good as Dido and Aeneas (and actually more varied with a larger orchestra etc.) but the latter is perfectly fit for our way of presenting opera and the semi-operas are not. This does not matter so much on recordings, but even here they are roughly a sequence of scenes or moods that barely hang together. Because the continuity was provided by the spoken play.
IMO the two great semi-operas have music that is at least the equal and maybe closer to our tastes than the typical high/late baroque opera seria.
« Last Edit: September 17, 2020, 11:47:56 PM by Jo498 »
Struck by the sounds before the sun,
I knew the night had gone.
The morning breeze like a bugle blew
Against the drums of dawn.
(Bob Dylan)

Offline Mandryka

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Re: The Purcell Thread
« Reply #187 on: September 17, 2020, 11:37:51 PM »
Re the sonatas, I think this recording is particularly rewarding



Some of the organ music is impressive and flamboyant, the opening double organ voluntary on this CD for example



And quite recently, maybe two years ago, Ewa Rzetecka-Niewiadomska released some suites on keyboard which I thought was a bit of a game changer in terms of expressiveness



But there are venerable classic recordings of these suites, from people like George Malcolm and Richard Egarr and Kenneth Gilbert.
« Last Edit: September 18, 2020, 12:11:34 AM by Mandryka »
Wovon man nicht sprechen kann, darüber muss man schweigen

Offline Scion7

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Re: The Purcell Thread
« Reply #188 on: September 18, 2020, 12:00:48 AM »
I've never seen that last one - what an inventive cover.

I'll have a listen:  https://www.youtube.com/playlist?list=OLAK5uy_l0LSK0ZLB6foVvExuHJAJ5Yh6mPmrItyI
« Last Edit: September 18, 2020, 12:05:59 AM by Scion7 »
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Iota

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Re: The Purcell Thread
« Reply #189 on: September 20, 2020, 05:08:04 AM »
Purcell .. where really impressive or catchy pieces seem rather few and far between, compared to other great composers from that period, IMHO ..

If of any interest, I think the Music for Queen Mary's Funeral is an affecting, heartfelt work, seeming to express genuine personal grief. There's a nice recording with Herreweghe on Harmonia Mundi.

Offline MN Dave

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Re: The Purcell Thread
« Reply #190 on: September 20, 2020, 05:17:24 AM »
If of any interest, I think the Music for Queen Mary's Funeral is an affecting, heartfelt work, seeming to express genuine personal grief. There's a nice recording with Herreweghe on Harmonia Mundi.

A favorite, so thanks for the tip.

[what do you think of the Naxos? That’s my go-to]
« Last Edit: September 20, 2020, 05:22:11 AM by MN Dave »
“The effect of music is so very much more powerful and penetrating than is that of the other arts, for these others speak only of the shadow, but music of the essence.” — Arthur Schopenhauer

“It is my ambition to say in ten sentences what others say in a whole book.”
― Friedrich Nietzsche

Offline Iota

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Re: The Purcell Thread
« Reply #191 on: September 20, 2020, 06:12:01 AM »
A favorite, so thanks for the tip.

[what do you think of the Naxos? That’s my go-to]

I only know the Herreweghe and the Gardiner versions I'm afraid. So thanks actually for your recommendation.

Offline BasilValentine

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Re: The Purcell Thread
« Reply #192 on: September 20, 2020, 06:21:13 AM »
That's a shame. I liked Dido & Aeneas, but I never like hearing that the one work I discovered and enjoyed by a new composer (new to me, that is) is far and away his or her best work.

The Fantasias for viols are really good.

Offline Biffo

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Re: The Purcell Thread
« Reply #193 on: September 20, 2020, 07:17:18 AM »
Two of the three Purcell Funeral Sentences weren't played at Queen Mary's funeral. Only the March, Canzona and Thou knowest Lord were played, the rest of the Burial Service used works by Thomas Morley; his setting of Thou knowest Lord was lost so Purcell composed a replacement. Three marches were used for the procession to the Abbey - Purcell's and works by James Paisible and Thomas Tollett.

I only found this out relatively recently when I bought the album Music for Queen Mary from Martin Neary and Westminster Abbey Choir. Neary explains all in his excellent sleeve notes.

I don't suppose it matters too much, I have enjoyed the 'traditional' setting ever since LP days and have recordings by Munrow, Gardiner and Herreweghe (and possibly others). Wonderful music!