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Henry Purcell (1659-95)

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Purcell - Complete Ayres for the Theatre

Purcell - Complete Ayres for the Theatre


instrumental ayres from:

Purcell:

Prophetess or The History of Dioclesian, Z627

King Arthur, Z628

The Fairy Queen, Z629

The Indian Queen, Z630

The Married Beau or The Curious Impertinent - incidental music, Z603

The Old Batchelor - incidental music, Z607

Amphitryon or The Two Sosias: incidental music, Z572

The Double Dealer - incidental music, Z592

Distressed Innocence or The Princess of Persia: incidental music, Z577

The Gordion Knot Untied - incidental music, Z597

Abdelazer or The Moor's Revenge: incidental music, Z570

Bonduca or The British Heroine - incidental music, Z574

The Virtuous Wife or Good Luck At Last - incidental music, Z611

Sonata while the sun rises in 'The Fairy Queen', Z629/27

Overture in G minor, Z626/1

Sir Anthony Love or, The Rambling Lady, Z588/1: Overture

Music in Timon of Athens, the Man-Hater, Z632/1

Symphony in The Indian Queen, Z630/16


Roy Goodman (director)

“All these works were published within 18 months of Purcell's death. The 13 suites of choice movements from plays and semi-operas, entitled A Collection of Ayres, compos'd for theTheatre, and upon other occasions, may well have been the editing work of Purcell's brother, Daniel.
Whoever it was had a rare combination of musical integrity and commercial flair: the pieces lifted from Purcell's interpolations to plays are often reordered and arranged with a deftness and charm which conveys the spirit of the theatre as well as heightening the loss and poignancy of Purcell's passing. How moving the Rondeau Minuet from The Gordian KnotUnty'd must have seemed to those who knew and loved Purcell.
As a major retrospective of Purcell's life in the theatre, the Ayres for the Theatre mainly comprise instrumental dances from their original sources, though there are several movements readapted from sung airs, such as 'Fairest isle' from King Arthur and 'If love's a sweet passion' from The Fairy Queen. The tunes are wonderful and varied, the inner part-writing skilful and the rhythmic imagination knows no bounds.
Even so, this isn't music where more than a suite at a time can be recommended for ultimate satisfaction: stop while you still want more. And more you'll most certainly want with Roy Goodman's alert and distinctive direction. If a few of the movements sound a touch mundane and lack dynamism as one follows on from another, the positive side is that the performances are never forced and rarely mannered. For the semi-opera 'suites', Goodman employs a full orchestra. What The Parley of Instruments has in abundance is a cordiality of expression which seems so absolutely right, especially in the slower airs.”
Gramophone Classical Music Guide, 2010

“Ayres for the Theatre is a wonderful collection of rich and varied, tuneful music and has been marvellously well recorded” Gramophone Magazine

“The performances by Goodman and the authentic Parley of Instruments are thoroughly alive, stylish and responsive to the composer's ready invention. The recording is in every way pleasing, clear, yet full-bodied.” Penguin Guide, 2011 edition

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Hyperion - CDS44381/3

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Purcell: Complete Odes & Welcome Songs

Purcell: Complete Odes & Welcome Songs


Purcell:

Arise, my Muse, Z320

for Queen Mary's birthday 1690

Welcome to all the pleasures (from Ode for St Cecilia's Day 1683), Z339

Now does the glorious day appear (from Come ye sons of Art, Z323)

Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328

Who can from joy refrain?, Z342

Fly, bold rebellion (Welcome Ode for Charles II, 1683)

Sound the trumpet, beat the drum, Z335

Celebrate this festival, Z321

Ye tuneful Muses (Welcome Song for James II, 1686)

Celestial Music did the gods inspire (for Mr Maidwell's School, 1689)

From hardy climes and dangerous toils of war (for the wedding of Prince George and Princess Anne, 1683)

Welcome, welcome, glorious morn, Z338

Great parent, hail to thee (for the Centenary of Trinity College, Dublin, 1694)

The summer's absence unconcerned we bear, Z337

Love's goddess sure was blind, Z331

Raise, raise the voice (for St Cecilia's Day, c1685)

From those serene and rapturous joys (Welcome Song for Charles II, 1684)

Of old, when heroes thought it base (The Yorkshire Feast Song, 1690)

Swifter, Isis, swifter flow (Welcome Song for Charles II, 1681)

What, what shall be done in behalf of the man? (Welcome Song for the Duke of York, 1682)

Come ye sons of art (Ode for Queen Mary's birthday, 1694), Z 323

Welcome, vicegerent of the mighty king, Z340

Why, why are all the Muses mute?, Z343


Well, strictly speaking this is not a new release, but as the original issue of this important and unique set has been out of stock for almost two years we think a reminder is called for.

The need to create new artwork caused the hiatus in repressing, but it also gave us the opportunity to re-think the packaging, and the set is now contained within a slim clamshell box with cardboard inner sleeves (rather than the original large box containing eight standard jewel cases with individual booklets for each disc). There is now one substantial and fully updated 72-page booklet which contains all the texts and a trilingual note.

This is the only complete recording of Purcell’s Odes and Welcome Songs and, as such, one of the treasures of the Hyperion catalogue—it makes a very welcome return.

'A treasure house of shamefully neglected music. Over nine hours of wonderful invention ... this major recording achievement must be an irresistible temptation' (BBC Music Magazine)

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Hyperion - Purcell Complete Edition - CDS44031/8

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Purcell - Complete Secular Solo Songs

Purcell - Complete Secular Solo Songs


Purcell:

Draw near, you lovers Z462

While Thirsis, wrapp'd in downy sleep, Z437

Love, thou canst hear, tho' thou art blind, Z396

I loved fair Celia, Z381

What hope for us remains now he is gone? Z472

Pastora's beauties when unblown Z407

Abdelazer or The Moor's Revenge: incidental music, Z570

Urge me no more, Z426

Farewell, all joys Z368

If music be the food of love Z379A (first version)

Amidst the shades and cool refreshing streams Z355

They say you're angry Z422

Let each gallant heart Z390

This poet sings the Trojan wars ('Anacreon's Defeat') Z423

Ah, how pleasant 'tis to love, Z353

My heart, wherever you appear Z399

On the brow of Richmond Hill Z405

Rashly I swore I would disown Z411

Since the pox or the plague Z471

Beneath a dark and melancholy grove, Z461

Musing on cares of human fate Z467

Whilst Cynthia sung, all angry winds lay still Z438

How I sigh when I think of the charms of my swain Z374

Ye happy swains, whose nymphs are kind Z443

Beware, poor shepherds Z361

See how the fading glories of the year Z470

Cease, anxious world, your fruitless pain Z362

O! fair Cedaria, hide those eyes Z402

I love and I must ('Bell Barr'), Z382

When her languishing eyes said 'Love!', Z432

Not all my torments can your pity move, Z400

Ah! cruel nymph, you give despair, Z352

Sylvia, now your scorn give over, Z420

Since one poor view has drawn my heart, Z416

I resolve against cringing and whining, Z386

Gentle shepherds, you that know the charms, Z464

If grief has any pow'r to kill, Z378

She that would gain a faithful lover, Z414

Fly swift ye hours, Z369

Hears not my Phillis how the birds ('The Knotting Song'), Z371

Phillis, talk no more of passion, Z409

Celia's fond, too long I've lov'd her, Z364

In vain we dissemble, Z385

When my Aemelia smiles, Z434

Farewell, ye rocks, ye seas and sands, Z463

What a sad fate is mine, Z428A

I take no pleasure in the sun's bright beams, Z388

Love's pow'r in my heart shall find no compliance, Z395

How delightful's the life of an innocent swain, Z373

She, who my poor heart possesses, Z415

Love arms himself in Celia's eyes, Z392

When first my shepherdess and I, Z431

Through mournful shades and solitary groves, Z424

If music be the food of love (second version), Z379B

Scarce had the rising sun appear'd, Z469

Who but a slave can well express, Z440

High on a throne of glitt'ring ore, Z465

Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383

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

Phyllis, 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


Barbara Bonney (soprano), Susan Gritton (soprano), James Bowman (counter-tenor), Rogers Covey-Crump (tenor), Charles Daniels (tenor), Michael George (bass)

The King's Consort, Robert King (chamber organ, harpsichord)

Building a Library

Large Box Set Recommendation - February 2014

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Hyperion - Purcell Complete Edition - CDS44161/3

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Purcell - Complete Secular Solo Songs Volume 2

Purcell - Complete Secular Solo Songs Volume 2


Purcell:

I love and I must ('Bell Barr'), Z382

When her languishing eyes said 'Love!', Z432

Not all my torments can your pity move, Z400

Ah! cruel nymph, you give despair, Z352

Sylvia, now your scorn give over, Z420

Since one poor view has drawn my heart, Z416

I resolve against cringing and whining, Z386

Gentle shepherds, you that know the charms, Z464

If grief has any pow'r to kill, Z378

She that would gain a faithful lover, Z414

Fly swift ye hours, Z369

Hears not my Phillis how the birds ('The Knotting Song'), Z371

Phillis, talk no more of passion, Z409

Celia's fond, too long I've lov'd her, Z364

In vain we dissemble, Z385

When my Aemelia smiles, Z434

Farewell, ye rocks, ye seas and sands, Z463

What a sad fate is mine, Z428A

I take no pleasure in the sun's bright beams, Z388

Love's pow'r in my heart shall find no compliance, Z395

How delightful's the life of an innocent swain, Z373

She, who my poor heart possesses, Z415

Love arms himself in Celia's eyes, Z392

When first my shepherdess and I, Z431

Through mournful shades and solitary groves, Z424

If music be the food of love (second version), Z379B

Scarce had the rising sun appear'd, Z469

Who but a slave can well express, Z440

High on a throne of glitt'ring ore, Z465

Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383


Barbara Bonney (soprano), Susan Gritton (soprano), James Bowman (countertenor), Rogers Covey-Crump (tenor), Charles Daniels (tenor), Michael George (bass), Mark Caudle (bass viol), Susanna Pell (bass viol), David Miller (theorbo, archlute), Robert King (chamber organ, harpsichord)

The King's Consort

'A treasury of good performances. It could hardly be otherwise with this composer and this roster of singers' (Fanfare)

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Hyperion - Purcell Complete Edition - CDA66720

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Purcell - Complete Secular Solo Songs Volume 3

Purcell - Complete Secular Solo Songs Volume 3


Purcell:

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, Z. 379C

Phyllis, 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


Barbara Bonney (soprano), Susan Gritton (soprano), James Bowman (countertenor), Rogers Covey-Crump (tenor), Charles Daniels (tenor), Michael George (bass), Mark Caudle (bass viol), Susanna Pell (bass viol), David Miller (theorbo, archlute), Robert King (chamber organ, harpsichord)

The King's Consort

'Those who need all of Purcell's songs at their fingertips should invest in Hyperion's three-disk survey of secular songs, with outstanding performances by Barbara Bonney, Rogers Covey-Crump and James Bowman' (The New York Times)

“This third and last volume of Purcell's non- theatrical secular songs consummates a most rewarding survey of 87 songs with more of the same: a vocal palette of six singers who are by now so steeped in the nuances of Purcell's strains that even the slightest offering sparkles with something memorable. The treasure is shared between Barbara Bonney and Susan Gritton who complement each other superbly.
Gritton, becoming more refined in characterisation and tonal colour by the day, is allotted the free-style and dramatic pieces while to Bonney's fluid and sensual melisma is designated the more strophic or cantabile settings. Lovely Albina's comeashore is one of the composer's most mature creations, tantalisingly hinting at a new, tautly designed and classically balanced type of song.
This work, If music be the food of love (the best of the three versions) and I came, I saw are striking examples of how exceptionally Bonney negotiates Purcell's skipping and curling contours and makes these songs sound even finer creations than we previously thought. From silent shades ('Bess of Bedlam') is Purcell's quintessential mad-song and Gritton has the measure of it all the way; packed full of incident, imagery and musical detail, her narration is clear and finely judged, reporting the tale with irony and change of colour. The CD is beautifully documented.”
Gramophone Classical Music Guide, 2010

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Hyperion - Purcell Complete Edition - CDA66730

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Purcell: Hail! bright Cecilia

Purcell: Hail! bright Cecilia


Purcell:

Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328

Who can from joy refrain?, Z342


The last, and greatest, of Purcell’s four Odes to St Cecilia, Hail! bright Cecilia was composed to a text by Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. It is a celebratory work comprising of masterful instrumental sections, majestic choruses, and varied solos, duets and trios. Written in 1695, Who can from joy refrain? was composed as an ode celebrating the Duke of Gloucester’s sixth birthday. Both these works reveal the unparalleled richness of the composer’s musical invention and explain why, more than three hundred years later, Henry Purcell is still regarded as one of Britain’s finest composers.

The King’s Consort and a distinguished line-up of soloists perform this glorious music, originally issued as Volume 2 in The Complete Odes & Welcome Songs series, with a high measure of perfection and flawless technique.

“Highly desirable additions to any Purcell collection” The Times

“For those to whom Purcell’s unfailing sensitivity and inventiveness in the setting of English texts is a constant miracle, the problem with this series is knowing where to start” Gramophone Magazine

“Purcell at his most theatrical and most domestic in two celebratory odes. New College Choir's sound is the main draw in a recital that never quite breaks sweat.” BBC Music Magazine, February 2012 ***

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Purcell - The Complete Sacred Music (The Complete Anthems and Services)

Purcell - The Complete Sacred Music (The Complete Anthems and Services)


Purcell:

Hear me, O Lord, the great support, Z133

Thou wakeful shepherd that dost 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

I was glad when they said unto me (1685, previously attributed wrongly to John Blow)

O consider my adversity, Z32

Beati omnes qui timent Dominum, Z131

I was glad when they said unto me, Z19

In the black dismal dungeon of despair, Z190

Save me, O God, Z51

Thy way, O God, is holy, Z60

Music for the Funeral of Queen Mary, 1695

In thee, O Lord, do I put my trust, Z16

Blessed is the man that feareth the Lord, Z9

Jehova, quam multi sunt hostes mei, Z135

Full of wrath, his threatening breath, Z185

Bow down thine ear, O Lord, Z11

Magnificat & Nunc Dimitus in G minor, Z231

Be merciful unto me, Z4

They that go down to the sea in ships, Z57

The Lord is my light, Z55

The Lord is King, the earth may be glad thereof, Z54

Blessed is he whose unrighteousness is forgiven, Z8

O Lord God of hosts, Z37

Let God arise, Z23

Blessed be the Lord my strength, Z6

O Lord our Governor, Z141

In guilty night (Saul and the Witch of Endor), Z134

I will give thanks unto the Lord, Z21

O sing unto the Lord, Z44

O praise God in his holiness, Z42

Praise the Lord, O Jerusalem, Z46

It is a good thing to give thanks, Z18

O give thanks unto the Lord, Z33

Let mine eyes run down with tears, Z24

My beloved spake, Z28

Blessed are they that fear the Lord, Z5

Behold now, praise the Lord, Z3

I will give thanks unto Thee, O Lord, Z20

My song shall be always, Z31

Te Deum & Jubilate Deo in D, Z232

Blow up the trumpet in Sion, Z10

The Lord is king, be the people never so impatient, Z53

Begin the song, and strike the living lyre, Z183

Thy word is a lantern unto my feet, Z61

Tell me, some pitying angel (The Blessed Virgin's Expostulation), Z196

Hear my prayer, O Lord, Z15

Lord, I can suffer thy rebukes, Z136

O Lord our Governor, Z141

Remember not, O Lord, our offences, Z50

Hosanna to the highest, Z187

O God, thou hast cast us out, Z36

Behold, I bring you glad tidings, Z2

Since God, so tender a regard, Z143

Early, O Lord, my fainting soul, Z132

Sleep, Adam, and take thy rest, Z195

Awake, ye dead, Z182

The earth trembled, Z197

The way of God is an undefiled way, Z56

Lord, not to us, but to thy name, Z137

Lord, what is man?, Z192

Sing unto God, O ye kingdoms of the earth, Z52

O, all ye people, clap your hands, Z138

My heart is inditing, Z30

O Lord, rebuke me not, Z40

With sick and famish'd eyes, Z200

How long, great God?, Z189

Awake, and with attention hear, Z181

O God, thou art my god, Z35

We sing to him, whose wisdom form'd the ear, Z199

Praise the Lord, O my soul, and all that is within me, Z47

O, I'm sick of life, Z140

O God, the king of glory, Z34

Let the night perish (Job's Curse), Z191

When on my sick bed I languish, Z144

Rejoice in the Lord alway ('The Bell Anthem'), Z49

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

I will sing unto the Lord as long as I live, Z22

How have I stray'd, Z188

Mass in B flat, Z230

Hear my prayer, O God, Z14

Out of the deep have I called, Z45

Blessed is he that considereth the poor, Z7

The Lord is king, and hath put on glorious apparel, Z69

Unto thee will I cry, Z63

Praise the Lord, O my soul, O Lord my God, Z48

Close thine eyes and sleep secure, Z184

Lord, how long wilt thou be angry?, Z25

Hear me, O Lord, and that soon, Z13a/Z13b

Turn thou us, O good Lord, Z62

O Lord, thou art my God Z41

An Evening Hymn 'Now that the sun hath veiled his light', Z193

Awake, awake, put on thy strength, Z1


Lynne Dawson, Susan Gritton (sopranos), James Bowman, Nigel Short (countertenors), Paul Agnew, Rogers Covey-Crump, Charles Daniels, Mark Milhofer, Mark Padmore (tenors), Colin Campbell, Robert Evans, Micahel George, Stephen Varcoe (basses)

Choir of New College Oxford, King's Consort Choir, King's Consort, Robert King

“This CD is made up predominantly of anthems, devotional songs and a morning service (a functional, though not perfunctory, setting of the TeDeum and Jubilate) most of which disclose the range and quality of the composer's sacred oeuvre near its best. Of the two settings of I was glad, the first was, until not long ago, thought to be the work of John Blow. This full anthem more than whets our appetite with its agreeable tonal and melodic twists; when the Gloria arrives, we're assured that this is vintage Purcell by the sensitive pacing as much as an exquisite contrapuntal denouement. The earlier setting is more poignant. Opening with a string symphony in the spirit of a Locke consort, the music blossoms into a deliciously Elysian melodic fabric. Good sense is made of the overall shape and the soloists are, as ever, excellent. Beati omnes is a positive gem; this may well have been written for the composer's wedding. Of the small-scale pieces, In the black dismal dungeon is the real masterpiece; it's delivered astutely by the secure and musicianly voice of Susan Gritton.
Finally to the funeral pieces. Here we have an ominous procession from the Guild of Ancient Fifes and Drums and the first appearance of four 'flatt' trumpets – as opposed to two plus two sackbuts; the effect of this subtle timbral change makes extraordinary sense of the music, engendering a new grandeur and uncompromising clarity as would have befitted such an occasion. The vocal performances are earthy and impassioned.”
Gramophone Classical Music Guide, 2010

“An outstanding series, full of treasures, with King varying the scale of forces he uses for each item. Often he uses one voice per part, but he regularly expands the ensemble with the King's Consort Choir or turns to the full New College Choir, which includes trebles. The individual discs are no longer available separately, but all 11 CDs come neatly packaged in cardboard sleeves.” Penguin Guide, 2011 edition

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Hyperion - Purcell Complete Edition - CDS44141/51

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Ayres for the Theatre

Ayres for the Theatre


Purcell:

Suite from Abdelazar

Overture & Curtain Tune

from Timon of Athens

Suite from the play The Gordion Knot Unty'd

Suite from the play Bonduca

Chacony in G minor - for Two Violins, Viola and Bass Z730

Suite from the play The Virtuous Wife


Crispian Steele-Perkins (trumpet), Pavlo Beznosiuk (violin), Theresa Caudle (violin, viola), Judy Tarling (viola), Mark Caudle (bass violin), Paula Chateauneuf (theorbo, archlute)

The Parley Of Instruments, Peter Holman

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Helios - CDH55010

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Countertenor duets by Purcell & Blow

Countertenor duets by Purcell & Blow


Blow:

Ah, Heav'n! What is't I hear?

Ode on the Death of Mr Henry Purcell

Purcell:

Sound the trumpet, beat the drum, Z335

In vain the am'rous flute (from Hail, Bright Cecilia!, Z328)

O solitude, my sweetest choice, Z406

Sing, sing ye druids from Bonduca Z574

O dive custos Auriacae domus, Z504

No, resistance is but vain (from The Maid's Last Prayer or Any Rather Than Fail, Z601)

Hark how the songsters of the grove (from Timon of Athens, Z632)

Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383


This recording of duets by the great composers of the Restoration is one of the gems of Hyperion’s catalogue. It features the celebrated countertenors James Bowman and Michael Chance at the peak of their powers, and the combination of their two voices with the sympathetic accompaniment of The King’s Consort creates something uniquely glorious.

Purcell was a countertenor himself and in his writing for the voice produced some of his most felicitous music. John Blow, Purcell’s predecessor and successor as organist of Westminster Abbey, reached his compositional zenith with the extended duet (almost a small cantata) on the subjects of Purcell’s tragic early death and inextinguishable influence.

“Such complementary voices, Chance fine-drawn, Bowman a touch richer, more coloured, are ideal in this selection of inventive duets. Blow's Ode on Purcell's death is particularly fine, intensely moving.” BBC Music Magazine, May 2014 *****

“A disc no baroque music anglophile will wish to be without, for it is a vocal tour de force” Gramophone Magazine

“A sparkling collection which shows both the composer and these fine artists in inspirational form. The performances are joyous, witty and ravishing in their Purcellian melancholy” Penguin Guide

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English Lute Songs

English Lute Songs


anon.:

The Last of the Queenes Maskes - lute solo

Banister:

Come unto these yellow sands

Where the bee sucks

Dry those eyes

Full fathom five

Give me my lute

Blow:

Lovely Selina

Campion:

Fair, if you expect admiring

Danyel:

Rosa - lute solo

Can doleful notes?

Dowland:

In darkness let me dwell

Time stands still

Behold a wonder here

Johnson, R:

Full fathom five

Where the bee sucks

Fantasia - lute solo

Lawes, W:

Why so pale and wan, fond lover?

He that will not love (Persuasions not to Love)

I'm sick of love (To Sycamores)

Gather ye rosebuds while ye may

Locke:

The delights of the bottle

Purcell:

Riggadoon, Z653

Lute solo

Song Tune ['Ah how pleasant 'tis to love', Z353] - lute solo

A New Irish Tune Z646

Lute solo

Tis Nature's voice (from Hail, Bright Cecilia, Z328)

Be welcome then, great Sir

Song Tune ['Still I'm wishing', Z627] - lute solo

Sefauchi's Farewell, Z656

By beauteous softness (from Now does the glorious day appear, Z332)

Reggio:

Arise, ye subterranean Winds


Robin Blaze (countertenor) & Elizabeth Kenny (lute)

English Lute Songs covers a variety of styles by composers such as Blow, Dowland, Campion, Lawes and Purcell; some for voice and lute and some for lute alone. It is a disc which aims to look beyond the standard repertoire for countertenor and lute and hopefully introduce listeners to some lesser known pieces which will delight and enthrall.

Robin Blaze and Liz Kenny have performed these works together on the concert platform to great acclaim.

“Can be recommended without reservation … the wonderful By beauteous softness, from Queen Mary’s Birthday Ode of 1689, given this performance, I could quite easily listen to for ever … there’s a remarkable technical ease and innate literary intelligence about Blaze’s singing which together with the astounding beauty of his voice makes this one of the most outstanding recitals of its kind on disc” BBC Music Magazine

“Robin Blaze has the special ingredients to transcend any latent prejudice [of countertenors], especially in a recital as wide-ranging and intelligently programmed as this. Blaze has the means to colour his texts, not just with superior diction, but timbral variation to keep the listener hearing each song afresh … there are too many highlights to list … superb. Another fine achievement from two of Britain’s brightest and best” Gramophone Magazine

“Robin Blaze has the versatility and range of nuances needed to encompass such an eclectic repertoire and the precision of focus in his limpid countertenor makes even a trifle like The delights of the bottle an invigorating experience … an enterprising recital disc” International Record Review

Hyperion & Helios - up to 50% off

Helios - CDH55249

(CD)

Normally: $10.00

Special: $8.00

Usually despatched in 2 - 3 working days.

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