SACRED MUSIC BY HENRY PURCELL - Resonus Classics
O SING UNTO THE LORDSACRED MUSIC BY HENRY PURCELLSAINT THOMAS CHOIR OF MEN & BOYS,FIFTH AVENUE, NEW YORKCONCERT ROYALRES10184JOHN SCOTT
O Sing Unto The LordSacred Music byHenry Purcell (1759-95)Daniel DeVeau treble 6Eric Brenner countertenor 4Saint Thomas Choir of Men & Boys,Fifth Avenue, New YorkConcert RoyalJames Richman artistic directorFrederick Teardo organJohn Scott conductor & solo organ 9About Saint Thomas Choir of Men & Boys and John Scott:‘[.] an intensely dramatic reading [.] Scott and hismagnificent choir capture the fervent writing in all its rich variety’The Observer‘[Scott] and his New York forces achieve somememorable results, not least the clarity of their sound’Choir & Organ1. O sing unto the Lord, Z44[11:27]2. Remember not, Lord, Z50[3:03]3. Jehova, quam multi sunt hostes mei, Z135[6:09]4. Evening Hymn, Z193[4:05]5. O God, thou art my God, Z35[3:30]6. Morning Hymn, Z198[2:46]7. I was glad, Z19[4:06]8. Hear my prayer, O Lord, Z15[2:27]9. Voluntary in G major, Z720[3:19]10. Te Deum in D major, Z232[13:05]Total playing time[54:03]
O Sing Unto the Lord:Sacred Music by Henry PurcellIn the span of 112 years between the deathof Henry VIII in 1547 and the birth of HenryPurcell the foundations were laid for a worldpower: separation from Rome during Henry’slife, naval victory over Spain in 1588, and thereign of Elizabeth I that saw the birth of acolonial empire. Civil war erupted, followedbriefly by tyrannical Puritanism, and then bythe birth of a new parliamentary democracy.It was into this turbulent English landscapethat Purcell was born in 1659. Yet withintwo decades, London was, as never before,alive with a youthful zeal that extended toall arts, including music, at the centre ofwhich flourished the young Henry Purcell.Purcell’s was a life full to the brim withmusic. He began as a choirboy in the ChapelRoyal and by 1673 was assistant to thecurator of the King’s instruments. By 1677he was appointed composer-in-ordinary forthe King’s Violins (the royal orchestra); in1679, at the age of twenty, he succeededhis teacher, John Blow, as organist ofWestminster Abbey. Soon after he beganwriting music for the theatre, and composedincidental music for no fewer than thirtynine plays. Over the fifteen years remainingto him he created a string of magnificentmasques leading finally to the operaticDido and Aeneas. In the midst of this activityhe also found time to compose domesticmusic for the King’s Violins as well as somevery earthy songs for an evening in theNobleman’s and Gentlemen’s Catch Club.His royal patronage left nothing to be desired:he was appointed organist of the ChapelRoyal in 1682, an appointment renewed bysuccessive monarchs in 1685 and 1689. Ascourt composer Purcell’s duties includedprovision of music for ceremonial occasionsincluding coronations and funerals. Thecomposition of music for Queen Mary’sfuneral foreshadowed his own death by afew months: in his thirty-sixth year he wasburied in Westminster Abbey on 26November 1695 four days after St Cecilia’sDay, for which he himself had pennedsplendid music including two superb odesand the Te Deum in D major, Z232. London’s lovefor the ever-youthful genius is inscribed onhis epitaph:Here lyes Henry Purcell Esq., who left this lifeand is gone to that blessed place where onlyhis harmony can be exceeded.Running through this disc of some of Purcell’sbest-known sacred music, is a sense ofmajesty: the greatness of God as the ultimatereflection of the power and grandeur ofmonarchy, along with its reverse image: theunworthiness of the servant to his master.The latter theme appears in many psalmtexts, with perhaps no better example thanPsalm 96, O sing unto the Lord, Z44, possiblycomposed in 1688. With the King’s stringband displayed prominently in an openingoverture, the musical textures alternatecontinually from a full choral tutti to a quartetin the central section, surrounded by briefinstrumental refrains and topped and tailedwith ‘Alleluias’. They each depict the gloryof God beside the insignificance of manmade gods.In contrast, the following five-part anthemRemember not, Lord, Z50, turns from thesplendour of God to the weakness ofhumankind. Dating from 1680, it is classicPurcell with its striking sensitivity to harmonyand text in the underlaying of the vocal lines.Again one senses the unseen presence ofmonarchy in this anthem with the king’sunworthy subjects begging to be spared oftheir misdeeds.A setting in Latin, Jehova, quam multi sunthostes mei, Z135, brings us back to thePsalms; and as the oft-set Psalm 51, thisversion of Psalm 3 depicts the wild,fluctuating emotions of King David. Whereasthe Miserere (the opening of Psalm 51) is anoutpouring of his guilt for the death of Uriah,this psalm is a lament for Absalom, hisbeloved son, who has risen up against him.But like Uriah, Absalom will be killed in battle.The pathos of this chapter of the Davidic dramais not lost on Purcell, whose music combinestraditional homophonic church-style writingwith recitative surprisingly akin to theMonteverdian operatic style. Chromaticismexquisitely portraying David in introspection‘I laid me down and slept’ (’ego cubui etdormivi’) gives way to glory in a finalcry of victory.Two hymns penned by William Fuller (16081675), Lord Bishop of Lincoln, offer an asideto Purcell’s choral writing. As non-liturgical,devotional pieces, the composer allows asolo line to emerge freely above the bassocontinuo. In the Evening Hymn, Z193 (‘Nowthat the sun hath veiled’), a hypnotic groundbass supplies the substructure for a melodicline that turns and twists evermore intricatelyas the bass repeats. A wonderful contrast inthe music mirrors the serenity of the settingsun and the joy within of God’s blessings; itis displayed especially in the intricate brocadeof a closing ‘Hallelujah’ that is as long as thehymn itself. An alternate example of thecomposer’s melodic resourcefulness followswith the Morning Hymn, Z198 (‘Thou wakefulshepherd’). The hymn’s simplicity is strikingand its declamatory, recitative-like formbreaks into danceable joy briefly before afinal cadence.
With verses from Psalm 63, O God, thou artmy God, Z35, Purcell has created thequintessential example of the Protestantanthem. It is concise, in four-parts, withoutItalianate recitative or melismatic lines.The harmony and text underlay are alsostraightforward with a concluding ‘Hallelujah’that has subsequently been transformedinto the much loved hymn-tune WestminsterAbbey. Verses from another Psalm (122),I was glad, Z19, provided the perfect narrativefor the coronation of James II in 1685. In ajubilant triple metre, this psalm, originallyportraying pilgrims returning to Jerusalem,is transformed into the homecoming of thetribes of England to London for theenthronement of their new monarch. Itsbrief central section, in a more stately 4/4,is a plea for peace and prosperity, whichhad particular resonance for a land justfreed from civil war. It reverts to triple timeagain for peace be within thy walls beforea heraldic doxology to conclude.Hear my prayer, O Lord, Z15, the openingverse of Psalm 102, offers a very different,rich eight-part choral texture that we mightassociate more with Mendelssohn’s choralwriting in the early-nineteenth century thanthe English Baroque. Dating from 1682, its‘cry’ to God is effected by the dissonance ofcolliding semitones, coming to a climax inthe penultimate bar. Perhaps part of alarger work, the austere economy of this briefanthem is definitively English: the grey, lowlightmelancholy is reminiscent of Dido’s Lamentor of Benjamin Britten more than twocenturies later.An ideal foil is a brief organ interlude, one offew organ works by Purcell that have comedown to us. This Voluntary in G major, Z720,was published a few years before his deathand employs an improvisational style, socommon in the early Italian baroque. It findsits way through the composer’s characteristicdissonances and concludes with a fugue.The Te Deum in D major, Z232 one of theancient hymns of the Church traditionallyassociated with St Augustine, dates from thefourth century. Its structure follows theTrinitarian design of the Apostle’s Creed andconcludes with an additional eight verses ofpetitions taken from the Psalms. Havingsubsequently become associated with themonastic office of Matins, it entered theAnglican liturgy as a canticle in the serviceof Morning Prayer. Composed with acompanion Jubilate, Purcell’s setting wasfirst heard in 1694 on St Cecilia’s Day. InLondon, the feast day of the patron saint ofmusic was celebrated with special music,so Purcell, as on previous occasions, addedall the trimmings including a full complementof strings and ceremonial trumpets. Itsimmediate success led to a secondperformance before the King and Queen afew weeks later in the Chapel Royal. It wasdescribed by a fellow composer, ThomasTudway, as the work ‘[.] which set Mr.Purcell eminently above any of hiscontemporarys’ and by 1698 it wasperformed regularly in St Paul’s Cathedralat the annual service for the Sons of theClergy.The Te Deum in D major shows Purcell athis finest, its architecture linking the openingtrumpet fanfares and strings to themagnificent choral tutti after which soaringtrumpets immediately scale down to thesolo voices of cherubim and seraphim.The alternation between different forcesand moods continues throughout withsome of the most exquisite word paintingfor choral and solo voices in juxtaposition.The majestic ‘Holy, Holy, Holy’ is only thefirst example with a number of beautifullyetched dialogues between solo voices tofollow, such as ‘When thou took’st uponthee’. The colour of distant harmonies usedby Purcell to evoke such phrases as ‘thesharpness of death’ then finds its climax inthe alto solo ‘Vouchsafe, O Lord’ as theshadows of D minor overtake the sense ofcelebration. Nearing the end, this longestindividual section takes, with unequalledexpressiveness, the form of an intimatedialogue between the two violins and voice.The chorus ‘O Lord in thee have I trusted’brings back the full choral and instrumentalforces finally as the reappearing light,affirming our trust and hope in God. 2010 Malcolm Bruno
Texts & Translations1. O sing unto the Lord, Z44O sing unto the Lord a new song. Alleluia.Sing unto the Lord all the whole earth. Alleluia.Sing unto the Lord and praise his Name:be telling of his salvation from day to day.Declare his honour unto the heathen,and his wonders unto all people.Glory and worship are before him,power and honour are in his sanctuary.The Lord is great and cannot worthily be praised,the Lord is great:he is more to be feared than all gods.As for all the gods of the heathen,they are but idols:but it is the Lord that made the heavens.O worship the Lord, in the beauty of holiness:Let the whole earth stand in awe of him.Tell it out among the heathen that the Lord is King;and that it is he who hath made the roundworld so fast that it cannot be moved;And how that he shall judge the peoplerighteously.Alleluia. Amen.Psalm 962. Remember not, Lord, Z50Remember not, Lord, our offences,nor the offences of our forefathers;neither take thou vengeance of our sins,but spare us, good Lord, spare thy people,whom thou hast redeemedwith thy most precious blood,and be not angry with us for ever.Spare us, good Lord.From The Litany3. Jehova, quam multi sunt hostes mei, Z135Jehova, quam multi sunt hostes mei,quam multi insurgunt contra me.Quam multi dicunt de anima mea,non est ulla salus isti in Deo plane.At tu, Jehova, clypeus es circa me,Gloria mea, et extollens caput meum.Voce mea ad Jehovam clamanti,respondit mihi e monte sanctitatis suae maxime.Ego cubui et dormivi, ego expergefecime,quia Jehova sustentat me.Non timebo a myriadibus populi,quas circum disposuerint metatores contra me.Surge, surge Jehova, fac salvum me,Deus mi.Qui percussisti omnes inimicos meosmaxilliam dentes improborum confregisti.Jehova est salus super populum tuum,sit benedictio tua maxime.
Lord, how are they increased that trouble me!many are they that rise against me.Many one there be that2 say of my soul,There is no help for him in his God.But thou, O Lord, art my defender;thou art my worship, and the lifter up of my head.I did call upon the Lord with my voice,and he heard me out of his holy hill.1 down and slept, and rose up again;I laid mefor the Lord sustained me.I will not be afraid for ten thousands of the people,that have set themselves against me round about.Up, Lord, and help me, O my God,for thou smitest all mine enemies uponthe cheek-bone;thou has broken the teeth of the ungodly.9Salvation belongeth unto the Lord;and thy blessing is upon thy people.4Psalm 35. O God, thou art my God, Z35O God, thou art my God: early will I seek thee.My soul thirsteth for thee,my flesh also longeth after theein a barren and dry land where no water is.13Thus have I looked for thee in holiness,that I might behold thy power and glory.For thy loving kindness is better than life itself:my lips shall praise 12thee.As long as I live will I magnify thee in this mannerand lift up my hands in thy Name.Because thou hast been my helper,therefore under the shadow of thy wingswill I rejoice.Hallelujah.Psalm 63:1-5, 86. Morning Hymn, Z198Thou wakeful shepherd that does Israel keep,Raised by thy goodness from the bed of sleep,5 up this hymn3To thee I offerAs my best morning sacrifice;May it be gracious in thine eyesTo raise me from the bed of sin.And do I live to see another day?I vow, My God, henceforth to walk thy ways,And sing thy praise all these few daysThou shalt allow.CouldI redeem the time I have mis-spent7in sinful merriment,11Could I untread those paths I ledI would so expiate each past offence thatev’n from thenceThe innocent should wish themselves like meWhen with such crimes they such repentance see.With joy I’d sing away my breath,Yet who can die so to receive his death?67. I was glad, Z19I was glad when they said unto me:We will go into the house of the Lord.For thither the tribes go up,even the tribes of the Lord:to testify unto Israel, and to give thanksunto the Name of the Lord.For there is the seat of judgement:even the seat of the house of David.O pray for the peace of Jerusalem:they shall prosper that love thee.Peace be within thy walls:and plenteousness within thy palaces.Glory be to the Father and to the Son:and to the Holy Ghost;As it was in the beginning, is now,and ever shall be:8 end,world withoutAmen.Psalm 122:1, 4-7Bishop William Fuller4. Evening Hymn, Z193Now that the sun has veiled his lightand bid the world goodnight,to the soft bed my body I dispose,but where, where shall my soul repose?Dear God, even in thy arms and can therebe any so sweet security!Then to thy rest, O my soul!And singing praise the mercy that prolongsthy days.Hallelujah.Bishop William Fuller (1608–1675)8. Hear my prayer, O Lord, Z15Hear my prayer, O Lord,and let my crying come unto thee.Psalm 102:110
10. Te Deum in D major, Z232We praise Thee, O God, we acknowledgeThee to be the Lord:All the earth doth worship Thee,the Father everlasting:To Thee all Angels cry aloud:The Heavens and all the Powers therein:To Thee Cherubin and Seraphin continually do cry,Holy, Lord God of Sabaoth: Heaven andearth are full of the Majesty of Thy Glory:The glorious company of the Apostles praise Thee:The goodly fellowship of the Prophets praise Thee:The noble army of Martyrs praise Thee:The Holy Church throughout all the worlddoth acknowledge Thee;The Father of an infinite Majesty;Thine honorable, true, and only Son;Also the Holy Ghost, the Comforter.Thou art the King of Glory O Christ;Thou art the everlasting Son of the Father,When Thou took’st upon Thee to deliver man,Thou did’st not abhor the Virgin’s womb,When Thou had’st overcome the sharpness ofdeath, Thou did’st open theKingdom of Heaven to all believers:Thou sittest at the right hand of God,in the Glory of the Father.We believe that Thou shalt come to be our Judge:We therefore pray Thee help Thy servants,whom Thou hast redeemedwith Thy precious blood;Make them to be numbered with ThySaints in glory everlasting.O Lord, save Thy people and bless Thine heritage.Govern them and lift them up forever.Day by day we magnify Thee,and we worship Thy Name,ever world without end.Vouchsafe, O Lord, to keep us this daywithout sin;O Lord, have mercy upon us: O Lord,let Thy mercy lighten upon us:As our trust is in Thee.O Lord, in Thee have I trusted:let me never be confounded.With thanks to the Rector, the Wardens,and the Vestry of Saint Thomas ChurchFifth Avenue for their encouragementand support of this recording.Concert RoyalJames Richman, Artistic DirectorConcert Royal, one of the first originalinstrument ensembles in New York,was founded by Artistic Director JamesRichman, harpsichordist and leader inthe early music field. Performing the musicof the seventeenth and eighteenthcenturies exclusively on originalinstruments, Concert Royal presentsa multifaceted approach to the periodby programming all genres of musicfrom orchestral, vocal, and chamber musicto opera and opera-ballet. The ensemblehas been in the forefront of the Baroqueand Classical revival in the United States,with innovative performances of the majorrepertoire of the period featuringthe foremost performers and scholars inthe field. This work has includedthe first ongoing program of Baroqueopera on original instrumentswith period costumes and staging, aswell as premieres from the chambermusic and chamber orchestra repertoire.Baroque ViolinCynthia Roberts, concertmasterClaire Jolivet, principal secondDongmyung AhnJudson GriffinBeth WenstromBaroque ViolaDavid Miller, principalAlissa SmithBaroque CelloChristine Gummere, continuoKatharine RietmanVioloneAnne TroutBaroque TrumpetNathan Botts, principalLouis HanzlikTheorboHank HeijinkOrganFrederick Teardo** Associate Organist, Saint Thomas Church
Paris, the Aarhus Organ Festival in Denmark,Cologne Cathedral, Disney Hall in Los Angelesand London’s Royal Albert Hall.John Scott (1956-2015)John Scott was born in 1956 in Wakefield,Yorkshire, where he became a Cathedralchorister. While still at school he gainedthe diplomas of the Royal College ofOrganists and won the major prizes. In1974 he became Organ Scholar of St John’sCollege, Cambridge, where he acted asassistant to Dr George Guest. His organstudies were with Jonathan Bielby, RalphDownes, and Dame Gillian Weir. He madehis debut in the 1977 Promenade Concertsin the Royal Albert Hall; he was the youngestorganist to appear in the Proms.At St Paul’s he played a complete cycle ofthe organ works of J.S. Bach in 2000 andfollowed this in subsequent years with theorgan symphonies of Vierne and Widor, aswell as the complete organ works of Franckand Buxtehude. At Saint Thomas Church,Fifth Avenue, New York, he performedcomplete cycles of the organ works ofBuxtehude in 2007, Messiaen in 2008 andthe six organ symphonies of LouisVierne in 2009. In 2014, he was one of thefeatured organists in the re-opening Galaand subsequently gave the first solo recitalon the restored organ in London’s RoyalFestival Hall and gave the opening recitalof the organ in the new Musikkens Husin Aalborg, Denmark. In June, he gave thepremiere of Nico Muhly’s Patterns for theAmerican Guild of Organists NationalConvention in Boston.On leaving Cambridge, he was appointedAssistant Organist at London’s two AnglicanCathedrals: St Paul’s and Southwark. In1985 he became Sub-Organist of St Paul’sCathedral, and in 1990 he succeeded DrChristopher Dearnley as Organist andDirector of Music.As an organist, John performed in fivecontinents, premiered many new workswritten for him, and worked with variousspecialist ensembles. He was a first-prizewinner from the Manchester InternationalOrgan Competition (1978) and the LeipzigJ.S. Bach Competition (1984). In 1998 hewas nominated International Performerof the Year by the New York Chapter of theAmerican Guild of Organists. He was a pastPresident of the Incorporated Association ofOrganists and served as a member of a numberof international competition juries, includingthose in Manchester, Dublin, Chartres, Dallas,St Albans and Erfurt. Highlights of his careerinclude recitals at the Thomaskirche, Leipzig,Symphony Hall, Birmingham, Notre Dame inIn addition to his work as a conductor andorganist, John published a number ofchoral compositions and arrangements andhe jointly edited two compilations ofliturgical music for the Church’s year,published by Oxford University Press.John’s many recordings include the organsonatas of Elgar, organ music by WilliamMathias, Maurice Duruflé and Mendelssohn,as well as two discs of music by Marcel Dupré.He has also recorded the solo organ part inJanacek’s Glagolitic Mass with the LondonSymphony Orchestra, conducted by MichaelTilson Thomas, and made a recordingat the organ of Washington’s NationalCathedral for the JAV label.In the summer of 2004, after a 26 yearassociation with St Paul’s Cathedral, hetook up the post of Organist and Director ofMusic at Saint Thomas Church, Fifth Avenue,New York, where he directed the renownedchoir of men and boys. He was awarded theLVO in the New Years Honours List of 2004,a personal gift from HM Queen Elizabeth II,in recognition of his work at St Paul’sCathedral. He was awarded an honorarydoctorate from Nashotah House Seminaryin Wisconsin in 2007.
The Saint Thomas Choir & Choir SchoolConvention in Houston, Texas.The Saint Thomas Choir of Men and Boys isconsidered by many to be the leadingensemble of its kind in the Anglican choraltradition in the United States. The Choirperforms regularly with Orchestra of St. Luke’s,or with the period instrument ensemble,Concert Royal, as part of its own concertseries. Its primary raison d’être, however, isto provide music for five choral serviceseach week. Live webcasts of all choralservices and further information includingrecordings of the choir may be found atwww.SaintThomasChurch.org.In addition to the annual performances ofHandel’s Messiah, concerts at Saint ThomasChurch have included Requiems by Fauré,Brahms, Mozart, Duruflé, Victoria and Howells;Bach’s Passions, Mass in B Minor and Motets;the U.S. premiere of John Tavener’s Mass; theU.S. premiere of Nico Muhly’s work My Dayswith viol consort Fretwork; Handel’s Israel inEgypt; a program of Handel and Purcell’sBaroque masters conducted by John Scottand Richard Egarr along with Juilliard 415 andMacMillan’s Seven Last Words from the Cross,conducted by David Hill. In 2014, the BoyChoristers performed in Bach’s St MatthewPassion at the Park Avenue Armory as partof Lincoln Center’s White Light Festival withthe Berliner Philharmoniker under the directionof Peter Sellars and conductor Sir Simon Rattle.Supplementing its choral services and concertseries over the past four decades, the Choirhas toured throughout the U.S. and Europewith performances at Westminster Abbeyand St Paul’s Cathedral in London; King’sCollege, Cambridge; Windsor; Edinburgh;St Albans; the Aldeburgh Festival; and theVatican. In February 2012, the Boys of theChoir traveled to Dresden to give the premiereof Lera Auerbach’s Dresden Requiem withthe Dresden Staatskapelle in the Frauenkircheand Semper Oper. Later in 2012, the Choirwas invited to perform in the Thomaskircheat the Leipzig BachFest, a highlight of theirJune 2012 tour to Germany and Copenhagen.Domestically, the Choir most recently touredthe Southeastern United States and was afeatured performer at the National AGOThe Gentlemen of the Saint Thomas Choir areprofessional singers; the Boy Choristers attendthe Saint Thomas Choir School. The SaintThomas Choir of Men and Boys is representedby Karen McFarlane Artists, Inc.(www.concertorganists.com) and recordsexclusively for Resonus Classics.Founded in 1919, the Saint Thomas Choir Schoolis the only boarding school solely for choristersin the United States, and one of only threeschools of its type remaining in the world today.TrebleJohn William Rodland CarsonDaniel Santiago Castellanos * 1, 7Alistair ChaseWilliam Christopher ClarkMarcus Eugenio Axel d’AquinoDaniel Abraham DeVeau ** 6, 7Benjamin Bae Stackhouse FerribyAndrew Godwin JonesAidan Elder McGiffWilliam Tennien MurphyRyan Christopher NewsomeWilliam James ParisMassimo August PellegriniDaniel Antonio PepeJoshua RossSamuel Edward SargunamJames Everett SchrepplerSimon Minor Scott-HamblenAlexander David SeeleyAlexander David SimcoxJulian Philip Wesley TurnerCalvin Jeffrey WentlingSidney Alan WrightRyoan YamamotoJustin Y. YooAltoEric Brenner 1, 4, 8 & 10Matthew Brown 10Corey-James Crawford 1Daniel Scarozza 1Geoffrey D. Williams 5, 10William Zukof 7TenorGregg M. Carder 7, 10Matthew HensrudJohn Cleveland HowellDavid Vanderwal 5Steven Caldicott Wilson 3, 10BassScott Dispensa 1, 10Richard Lippold 1, 10Craig Phillips 1, 10Mark SullivanChristopher Trueblood 1, 3, 5 & 7* Recipient of the Ogden Northrop Lewis, Jr.Choristership** Recipient of the Frances S. FalconerChoristershipSuperscript numbers indicate soloists invarious tracks
More titles from Resonus ClassicsSergei Rachmaninoff: Vespers (All-Night Vigil), Op. 37Saint Thomas Choir of Men & Boys,Fifth Avenue, New YorkJohn Scott (conductor)RES10169‘[.] John Scott’s fearless boy trebles are beyondreproach, scything through the textures and givingRachmaninoff’s squelchier chords an irresistible clarity.’The Arts DeskGabriel Fauré: Requiem, Op. 48Saint Thomas Choir of Men & Boys,Fifth Avenue, New YorkJohn Scott (conductor)RES10174‘[.] This is a fine choir, the treble tone appealinglybright, altos and tenors unearthly yet beautiful’Gramophone 2017 Resonus Limitedè 2010 Saint Thomas Church under exclusive licence to Resonus LimitedRecorded in Saint Thomas Church, Fifth Avenue, New YorkProducer & editor: Malcolm BrunoEngineer: John C. BakerProduction assistant: Claudette MayerRemastering engineer: Adam BinksExecutive producers: Adam Binks & Jacqueline R. SlaterCover image: Westminster Abbey by MemoryCatcher (Creative Commons – pixabay.com)RESONUS LIMITED – UKinfo@resonusclassics.comwww.resonusclassics.com
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Purcell eminently above any of his contemporarys’ and by 1698 it was performed regularly in St Paul’s Cathedral at the annual service for the Sons of the Clergy. The Te Deum in D major shows Purcell at his finest, its architecture li
Henry Purcell She loves and she confesses too !! John Weldon Take, o take those lips away ! Jean-Baptiste Lully !ésée: Revenez, Amours ! Henry Purcell Abdelazer: Air; Rondeau ! John Blow Voluntary !! Henry Purcell Voluntary ! Pelham Humfrey Lord I have sinn’d arranged by C. Mo
trumpet, oboes and recorders. Like Mozart and Schubert, Henry Purcell lived all too short a life – he lived just over 30 years – and for that reason it was left to his brother Daniel to complete The Indian Queen. Daniel was no Henry bu
The Institute of Sacred Music Core Curriculum 25 The Institute of Sacred Music and the School of Music 25 Choral Conducting Organ Voice: Early Music, Oratorio, and Chamber Ensemble Composition Church Music Studies The Institute of Sacred Music and the Divinity School 30 Liturgical Studies Religion and the Arts Master of Divinity (M.Div.)
What has developed in vocal music between the Baroque period and the present day? Lines of Enquiry Week 1: Making a successful ensemble performance. Week 2: What was the Baroque period: an introduction to Purcell. Week 3: Music for a while, Purcell. Week 4: Music for a while, Purcell and an introduction to Queen. Week 5: Killer Queen, Queen.
this is the ‘Rondeau’ (movement 2) from Purcell’s Abdelazer suite. Context Henry Purcell (1659–1695) was an English composer living in the 17th century, in the middle of the Baroque period (1600–1750). His music was influenced by both Italian and French styles, but he created his own unique English sound.File Size: 2MB
sense to Purcell’s audience. Music was almost always used in prose drama to mark critical junctions between acts, and the London stage would have been a natural place for Purcell to take his talents. Other than Dido and Aeneas, most of Purcell’s dramatic music was intended as accompaniment for spok
By Purcell from Abdelazer Rondeau : By Purcell from Abdelazer When I’m 64 : By John Lennon and Paul McCartney (1967) Published by Sony Tunes LLC . Henry Purcell not only en-joyed the patronage of t
from The Adventures of Tom Sawyer MARK TWAIN In this famous selection from The Adventures of Tom Sawyer (1876), written by Mark Twain (born Samuel Langhorne Clemens, 1835–1910), Tom, burdened with the chore to whitewash his Aunt Polly’s fence as punishment for his having played hooky from school, comes up with an ingenious way to get out of his work: He convinces his friends that it’s .
