Purcell: In the black dismal dungeon of despair, Z190

A dream cast for selected pieces from Purcell's masterpieces.

Christophe Rousset has brought together leading experts in this field (Elizabeth Kenny and Laurence Dreyfus) around Rosemary Joshua to give us a benchmark performance. This disc is a gem and a priority of the label for the semester.

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.

Recording made in 1994.

Gramophone magazine ‘Editor’s Choice’ in July 1995.

2009 is the 350th anniversary of Purcell’s birth, and his music will be the focus of much attention in the media and in live performance.

Paul McCreesh and the Gabrieli Consort are supreme in this repertoire.

Purcell was not just a creature of the theatre – his genius with the human voice extended to secular songs and Odes for Queen Mary. Less familiar are his sacred songs. Although some appeared in John Playford’s Harmonia Sacra of 1688 and 1693, many remained in manuscript and known only to a select few. There is some credence to the thought that Purcell intended them for an elite group. The choice of text is fastidious, and probably points towards a discerning friend in the court musical circles. For example, the metaphysical poets were out of fashion at this time, but whoever Purcell’s intended audience was, such poets remained a firm favourite for the composer. Other texts are by his contemporaries at court, lavished with as much care and attention as the settings from the Bible and the Book of Common Prayer. The settings are scored for small forces – one to two voices, accompanied by continuo. The emotional range, however, is huge, with contemplative and introspective songs rubbing shoulders with numbers such as ‘O, I’m sick of life’, where the singer rails against a cruel avenging God. In the setting ‘In guilty night’ or ‘Saul and the Witch of Endor’, you can sense the world of opera is never far away. This recording intersperses the sacred songs with organ works – Purcell was one of the most brilliant organists of his day, but surprisingly he only left about six works for the instrument.

Recorded on the Thomas Dallam organ de la Paroisse St-Miliau à Guimiliau

Known as the ‘English Orpheus’, Henry Purcell, born in London in 1659, began his career as a chorister in the Chapel Royal, an appointment that was to mark the start of his life‐long commitment to the monarchy. Today his music occupies a central position in British culture and is celebrated for its exquisite word‐setting, abundant use of expression and attractive melody; comprising 16 CDs, this compilation pays homage to a composer who, in spite of assimilating the then predominant French and Italian styles, was able to create a uniquely English form of Baroque music.

The collection effectively traces the length and breadth of Purcell’s output, from the many sacred works he was required to provide for state occasion and worship (‘Hear My Prayer, O Lord’ and ‘Hail! bright Cecilia’, among others) to secular instrumental and vocal music, written for domestic pleasure as well as the theatre.

Semi‐operas, anthems, odes, suites, songs, fantasias: Purcell’s oeuvre was a vast and pioneering one – all the more impressive in view of his untimely death – and the collection presents a selection of his most famous creations (Dido and Aeneas, for example whose first known performance was at a girls’ boarding school in Chelsea) alongside works which are not so widely known.

With its veritable Astar list of performers and ensembles, this is the perfect compilation for anyone wishing to explore Purcell’s music in greater depth. Who knows what else Purcell may have achieved, had he lived beyond the tender age of 36: this collection is a testament to his indefatigable genius, one which Britain lacked until the arrival of Elgar two centuries later.