Purcell - Complete Secular Solo Songs Volume 3

Hyperion: CDA66730

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Purcell - Complete Secular Solo Songs Volume 3

Label:

Hyperion

Catalogue No:

CDA66730

Discs:

1

Barcode:

0034571167305

Medium:

CD
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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

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Gramophone Classical Music Guide

2010

“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.”

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