Purcell: Here the deities approve, Z339

The greatest countertenor of today, Andreas Scholl returns to the Decca label with a recording of vocal jewels by the great baroque composer, Henry Purcell. This is Andreas Scholl's first ever recording of the music of Purcell and his uniquely beautiful voice is perfectly suited to the English composer's plangent melodies. The album includes pieces written for the stage, the church and the private chamber, some of which Andreas Scholl has sung in recital for many years, and some he sings for the first time.

Andreas Scholl's long-standing collaborators, ‘Accademia Bizantina’ bring out the Italian influence in Purcell's instrumental writing, and contribute orchestral items to the programme. 'O Solitude' is Andreas Scholl's first Decca album since the chart-topping ‘Handel: Arias For Senesino' in 2006.

The album includes the well known lament 'When I Am Laid In Earth' - recently voted the UK's No.1 favourite aria in a BBC Radio 3 poll - written for the character of Dido in Purcell's opera, Dido and Aeneas.

Andreas Scholl is joined for two duets by French countertenor Christophe Dumaux.

Michael Chance is a renowned exponent of this repertoire.

Florilegium has won many awards for its sensitive chamber-music-making in the Barock era.

Spanning his short creative life, Purcell’s Songs are a constant feature in his output. In between official Odes, the semi-operas and instrumental music is a profusion of wonderfully intimate, sometimes bawdy and explicit songs. Written for his circle of friends the texts are from a variety of sources – Shakespeare and Dryden understandably loom large among the poets whose words were set by Purcell. In 1698 his songs were published complete in Orpheus Britannicus .

Purcell composed only one true opera, and the form known as ‘semi opera’ was the most popular in England at the time. In these works the actors did not sing. Musical interludes either of vocal numbers or instrumental music punctuated the action. The second half of this CD contains examples of the instrumental music Purcell provided for Dioclesan and Timon of Athens.

The first recording on Brilliant Classics of the splendid Early Music ensemble Le Tendre Amour.The ensemble present a beautiful bouquet of English Lute Songs, divided in 4 groups centred around the four seasons Spring, Summer,Autumn,Winter. Composers are famous names like Purcell, Byrd, Croft, Lawes, Morley and Eccles, and lesser known like Lanier, de Gallot, Finger. The Booklet contains all song texts and excellent liner notes. A pure delight for all seasons!

A delightful collection of English songs from the 17th century, constructed around the major influence of the four seasons, and showcasing the great enthusiasm for music, particularly amateur music making, that took place during this era. During the Commonwealth of England (c.1640–1660), music disappeared almost entirely from religious and court occasions. The use of instruments and music in churches was banned, and organs were destroyed by order of the regime – so the public turned to village and tavern musicians, country dances and new musical clubs for music making. Coinciding with the decline of the Elizabethan madrigal, folk music and settings of the famous poets of the day were popular; similarly, keyboard variations on dance tunes and romantic songs for voice and lute were all the rage, and this continued into the years of the Restoration under Charles II.

The monarch’s influence can be detected in the French style of some of the later works, featuring oboe and large groups of strings. This outpouring of inspired music is captured perfectly in this new collection, performed with insight and sensitivity by Ensemble Le Tendre Amour. Composers featured include Purcell, Playford, Morley, Croft, Lawes, Byrd, Eccles, Ravenscroft and, of course, many anonymous works. From bucolic country music to sophisticated pieces for a gentrified city audience, the music provides a vivid soundtrack to life in the turbulent world of 17th century England.

The civil war that culminated in the decapitation of King Charles I was a dark period of English history; yet, in musical terms, the Puritans led by Oliver Cromwell did not do as much damage as one might have imagined. By prohibiting public music-making in places of workship and theatres, they contributed to the development of the practice of chamber music between friends in the home.