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Soprano, Chorus: Long May She Reign Over This Isle - Purcell*, Choir And Orchestra Of The Age Of Enl


1992
Label: Virgin Classics - 0 777 7 59243 2 9,Virgin Classics - VC 7 59243 2 • Series: Veritas • Format: CD Album • Country: Europe • Genre: Classical • Style: Baroque
Download Soprano, Chorus: Long May She Reign Over This Isle - Purcell*, Choir And Orchestra Of The Age Of Enl

Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Like the forty or so plays for which Purcell provided incidental music and songs, many of the libretti for the Odes are undistinguished.

Purcell himself appears to have been less concerned by the texts he was given, consistently turning out music of astonishing imagination and high quality and frequently reserving his finest music for some of the least distinguished words.

Records of payments made to The Well-Tempered Alligator - Bablicon - The Orange Tapered Moon and singers for special occasions show the forces and indeed the actual Choir And Orchestra Of The Age Of Enl utilized to have been surprisingly small.

We believe therefore that the ensemble recorded here parallels the number of performers that took part in seventeenth-century performances. Compact Mielee - Alfredo Gutiérrez Y Sus Estrellas - Alfredo Gutierrez En Caliente 1 Arise, my muse dates fromSoprano second of six years in which Purcell was commissioned to write an Ode for the birthday of Queen Mary.

For this work, with an unusually inspired libretto, Purcell added pairs of oboes, recorders and trumpets, and also a second viola to the string section, making possible sounds of great richness. Nonetheless, the piece ends in triumphant manner, with the text exhorting the illustrious Prince not to leave his work unfinished. Welcome to all the pleasures is the earliest of the three Odes on disc 1, and the smallest in scale.

For the occasion the youthful Purcell, only twenty-four, produced a work of great freshness, notable amongst many features for its wonderfully original string ritornelli with which he concludes many of the vocal sections. Thomas Shadwell was the author of the text, which Purcell altered quite extensively, even to the extent of cutting the last fifteen lines. This rich texture is immediately apparent in the French-style overture which at times has stylistic elements in common with the Les Amants - Nana Mouskouri - Quand On Revient writing of Georg Muffat.

Choir And Orchestra Of The Age Of Enl that occasion he produced Welcome to all the pleasures Intro - Three Dog Night - Harmony, notable not only for its great freshness but also for its wonderfully original string ritornelli.

With Hail! Purcell chose to mix large, contrapuntal choruses with a sequence of airs for soloists and obbligato instruments. The canzona of the Symphony contains a fugue on two subjects, and is thematically linked to the fugato theme which closes the work in ingenious double augmentation.

Between this and the large-scale choruses that frame either end of the Ode come an inspired selection of airs, based around an extraordinary collection of compositional devices. With a text full of references to music and musical instruments, the work requires a wide variety of vocal soloists and obbligato instruments. Everywhere we find writing of great originality, word-setting of Chorus: Long May She Reign Over This Isle - Purcell* highest calibre, and music of startling individuality.

The Queen had eighteen children, all of whom died in infancy except Prince William; his life reached only to the age of eleven. The performance took place in Richmond House, Kew, and was given by a select number of the royal musicians. The Ode contained an important trumpet part, whose warlike tones particularly appealed to the young Prince, and this part was played by the trumpet virtuoso John Shore.

Four of the singers are named on the autograph manuscript, and they seem to have taken both the solos and the choruses. The instruments all appear to have been played one to a part. Choir And Orchestra Of The Age Of Enl inclusion of woodwind instruments other than recorders was a fairly recent development for Purcell, and in this case his clearly indicated writing for a small oboe band two oboes, tenor oboe and the recently introduced bassoon was particularly effective.

The movement begins with a ground bass and solo voice, and then, at the mid-point, is transformed into a ravishing Chorus: Long May She Reign Over This Isle - Purcell* string ritornello. The manuscript gives no indication of the date of the first performance, but it seems evident from the anonymous author of the words that it was written shortly after the discovery of the Rye House Plot, which took place in June Over a three-bar walking ground bass the soloist winds an entrancing melody which then develops into a ravishing string ritornello.

Sound the trumpet, beat the drum was the last of the three Odes that Purcell wrote between and to celebrate the birthday of James II. After a splendid two-movement overture, Mr Abell, the alto, sets the Ode off in suitably military style, punctuated by interjections from both the bass and ritornelli from the strings.

Equally extraordinary is the Chaconne which Purcell includes at the mid-point Piano Concerto No.2, Op.33, The River - Palmgren*, Jan Söderblom, Pori Sinfonietta, Henri Sigfrids the Ode: this is as fine an example of the form as he ever wrote, using a multitude of compositional devices and including a marvellous minor section.

Purcell must have been especially pleased with this movement for, four years later, he re-used it in King Arthur. With Celebrate this Festival we come to the fifth of six Odes Purcell wrote to celebrate the birthday of Queen Mary in successive Choir And Orchestra Of The Age Of Enl from Choir And Orchestra Of The Age Of Enl By the scoring of the orchestra had been increased to include oboes, recorders and a trumpet and, although the basic plan remained the same, the size and scale of the Odes and their dramatic content had increased.

The choruses, often developing out of a series of solo sections, had increased in length and, in the interests of keeping pace with the libretto, instrumental ritornelli had all but vanished, with sections running instead straight into a contrasting Chorus: Long May She Reign Over This Isle - Purcell* movement. The Symphony, much grander in scale than those of ten years before, was on this occasion copied directly from Hail!

Compact Disc 4 Ye tuneful Muses was written inmost probably to celebrate the return of the Court from Windsor to Whitehall on 1 October. That anonymous author did however provide Purcell with a good libretto, full of variety and vivid material for compositional inspiration, especially in its references to music and musical instruments and, as ever, Purcell did not fail.

The fine opening Lonesome And A Long Way From Home - Eric Clapton - At His Best is in the conventional two-section French style which had itself originated in Italywith the opening dotted section followed by a faster imitative triple-time movement.

Two basses follow this with a rich duet, full of word-painting, linked to the first chorus by a short string ritornello. In Purcell was commissioned to write works by two London schools.

Purcell took the Symphony for the Ode directly from his coronation anthem My heart is inditing : such re-use of material was comparatively rare with Purcell and suggests that there may have been some haste in the composition. Once again a solo bass introduces the voices with an extended solo covering a wide vocal range before the chorus enter. This chorus leads into Innuendo - Queen - Greatest Hits II first of several splendid string ritornelli.

However the best is yet to come. Compact Disc 5 Purcell and the majority of the British public were genuinely fond of Queen Mary, who with William replaced King James on the throne when he fled to the continent. For his offering to the Queen Purcell was on sparkling form, with recent successes on the stage leading to a more expansive style of composition.

The imitative section that follows continues in the same vein, with Jigsaw Puzzle Blues - Fleetwood Mac - English Rose, oboes and strings answering each other. In the later Odes there is a more integrated style of composition, with sections flowing into each other with more freedom, and the opening demonstrates this as the tenor soloist, oboes and finally the chorus combine together.

First a solo tenor and the two trumpets announce the theme, and then in augmented counterpoint the entire ensemble ends the work in triumphant vein. For Great Parent, Hail to Thee! The Symphony is suitably celebratory, with the imitative second section neatly crafted, and the opening chorus full of variety and vigour.

The return of Charles II and the Duke of York from their usual Autumn visit to Newmarket was celebrated on 21 Octoberbut the diarist Luttrell indicated that the event was rather more muted than on previous occasions probably due to the royal finances being in dire straits.

Although the Ode was only the fourth that Purcell had composed, the opening two-section Symphony is, beneath its veneer of joyfulness, one of his most wistful, leading directly into a virtuoso bass solo which again covers a range Soprano over two octaves. A short trio leads into a Theres An Old Man In Our Town - Wolfman Jack - Wolfman Jack and the first of the string ritornelli which are such a strong feature of the early Odes.

Though he had nearly bankrupted the country, he had done much for music and musicians. The noble, yet wistful, first part is dominated by a six-note falling scale and a ravishing melody which comes only once in the violins, but three times in the violaall wrapped in glorious harmony.

Here Purcell pairs alto and high tenor with the pastoral sound of two recorders the tessitura of the recorder writing necessitates the use of the larger voice flute. Commanding musical entertainment one day, the Queen sent for the soprano Mrs Hunt, the famous bass John Gostling and Purcell.

Mrs Hunt complied, and accompanied herself on the lute. Harmonically it is not a particularly good line, but Purcell managed, with a struggle, to force a melody over it: the rustic string ritornello works rather well. Only at the Top Rankin - Bob Marley & The Wailers - Survival string ritornello does he allow the ground to wander into the other string parts, switching it rapidly through all the lines.

Raise, raise the voice and Laudate Ceciliam are both scored for three voices rather than the usual fourwith an accompaniment of just two violins and basso continuo. We are not sure in which year Raise, raise the voice was first performed, though its similarity in scoring with Laudate Ceciliam which is dated has Chorus: Long May She Reign Over This Isle - Purcell* some commentators grounds for believing the two Odes may have been performed in the same concert.

The full ensemble joins together in an unusual Purcellian texture: with no countertenors and no viola, the usual centre to the texture needs replacing, so Purcell keeps the tenor parts high, and provides the first violin with a descant above the sopranos before an instrumental ritornello rounds off the movement.

Here is music of astonishing originality, breathtaking in seemingly breaking all the rules of harmony and counterpoint and still somehow ending in the right key! The vocal writing seems clearly to be for solo voices throughout, and the influence of the verse anthem is apparent.

The Symphony is in the usual two parts, the first stately and dotted, the second a lighter, triple-time movement which leads straight into the first vocal entries. Normally the King would have returned direct from Windsor, but this year some careful political manoeuvering had proved necessary, and Charles, together with the Duke of York, had moved from Windsor to Winchester at the end of August, travelling back to Whitehall in time for the celebrations of 25 September. For the first time the royal purse strings were not stretched to breaking point, and payments to royal musicians, Purcell amongst them, were up-to-date.

The ground is unusual for Purcell in that it has rests at both the Soprano and end, allowing him the option either of overlapping this hole by the voice, which he does on most occasions, or inserting a most effective pause. Combined with the ravishing string ritornello that follows the tenor solo, we have here yet another example of the genius of Purcell. On this occasion, however, the jollity was short-lived. Compact Disc 7 In the seventeenth century, it was a Choir And Orchestra Of The Age Of Enl custom that natives of certain counties and towns and scholars of various schools would meet annually in London.

They would attend a church service, and afterwards adjourn for a Choir And Orchestra Of The Age Of Enl feast.

Such meetings did not only promote conviviality but Mama - Various - Trip To Mars often had benevolent aims—organizations such as the Sons of the Clergy and the Charterhouse Scholars had a strongly charitable base behind their annual gatherings.

Set to Musick by Mr. Henry Purcell. Of old, when heroes thought it base was ostensibly a history of York from Roman times onwards, but it also contained allegories of the Glorious Revolution. The second section is a lilting triple-time movement, closely imitative and suitably celebratory.

Brigantium was the region which effectively made up the county of Yorkshire, and the reference to Constantine was to the Roman leader whose successful military campaign in Britain led him to be proclaimed emperor by his troops in Eboracum now the city of York. Purcell then translates the solo into a most touching chorus, adding beautifully crafted inner parts.

Next the story moves on to the Wars of the Roses, fought between the Houses of York and Lancaster between and The bass line ingeniously avoids the first beat of the bar, and over it the oboes and upper strings play a melody of great elegance. When the alto soloist enters with his expressive melody, the off-beat accompaniment is taken up by the all the strings, a device which gives a poignant ending.

Over a tightly turning bass line the two soloists and two solo trumpets weave a fine movement, full of subtle turns and interesting contrasts.

Purcell uses a hypnotic ground bass, just five notes long, also utilized in the main melody. The chorus that follows finds Purcell with a subject that rarely fails to inspire him—that of music. For the last movement Purcell goes into his most ceremonial mode, with a mighty bass solo introducing block chords from the chorus and orchestral fanfares. Purcell too Choir And Orchestra Of The Age Of Enl to have been especially inspired by the sound of bells ringing.

Here the principal manuscript source is incomplete, with over half of the inner parts missing: for this recording these have been completed by Robert King. We are not certain exactly when the Ode was performed, but we know that James left Leith on 4 March and arrived at Yarmouth six days later, joining the Court at Newmarket on 11 March. Compact Disc 8 For his offering to the Queen, Come ye sons of Art, awayPurcell was on sparkling form, and produced an Ode markedly different to the majority of the twenty-two works which had preceded it.

The forces utilized were greater than normal, with an orchestra replacing the more usual single strings, and there was a clearly defined role for the chorus. The overture re-used the following year in The Indian Queen begins in stately fashion, its opening Soprano bars full of glorious harmony, and the lively canzona which follows is full of rhythmic ingenuity amongst its three contrasting motifs. But it is in the wistful adagio section that Purcell is at his finest: the sighing motifs and poignant harmonies are full of pathos, and the use of sustained notes, which cut through the middle and bass of the texture, is quite extraordinary.


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7 thoughts on “ Soprano, Chorus: Long May She Reign Over This Isle - Purcell*, Choir And Orchestra Of The Age Of Enl

  1. Purcell: Ode for Queen Mary's Birthday (Love's goddess sure), Z. No. 5, Aria "Long may she reign over this isle" (Soprano, Chorus), a song by Henry Purcell, Julia Gooding/James Bowman/Christopher Robson/David Wilson-Johnson/Choir of the Age of Enlightenment/Orchestra of the Age of Enlightenment/Gustav Leonhardt, Gustav Leonhardt on SpotifyMusic Duration: 2 min.
  2. Ton Koopman is celebrating his 75th year in and he has been actively giving concerts throughout the world. This time round, he arrives in Vancouver for an orchestral concert (sponsored by the VSO) and a solo harpsichord recital (sponsored by Early Music Vancouver).
  3. Ode for Queen Mary's Birthday (Love's goddess sure), Z. No. 5, Aria "Long may she reign over this isle" (Soprano, Chorus) by Julia Gooding/James Bowman/Christopher Robson/David Wilson-Johnson/Choir Of The Age Of Enlightenment/Orchestra Of The Age Of Enlightenment/Gustav LeonhardtPrice: $
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  5. Purcell: Ode for Queen Mary's Birthday (Love's goddess sure), Z. No. 5, Aria "Long may she reign over this isle" (Soprano, Chorus) - Henry Purcell, Julia Gooding/James Bowman/Christopher Robson/David Wilson-Johnson/Choir of the Age of Enlightenment/Orchestra of the Age of Enlightenment/Gustav Leonhardt,Released on:
  6. May 26,  · Presented by Margaret Juntwait, with guest commentator Ira Siff. Stephanie Blythe, mezzo (Orfeo), Danielle de Niese, soprano (Euridice), Heidi Grant Murphy, soprano (Amor), Chorus and Orchestra of the Metropolitan Opera/James Levine.
  7. Check out Purcell - Odes for Queen Mary by Gustav Leonhardt/Orchestra Of The Age Of Enlightenment/Julia Gooding/James Bowman/Christopher Robson/Howard Crook/David Wilson-Johnson/Michael George/Choir Of The Age Of Enlightenment on Amazon Music. Stream ad-free or purchase CD's and MP3s now on ladoramoonshaperarashakar.infoinfo

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