All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Purcell - Songs of Welcome and Farewell
Purcell: | Welcome, vicegerent of the mighty king, Z340 O dive custos Auriacae domus, Z504 Welcome to all the pleasures (from Ode for St Cecilia's Day 1683), Z339 O let me ever, ever weep (from The Fairy Queen, Z629) Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383 Young Thirsis' fate, Z473 Why, why are all the Muses mute?, Z343 |
“Splendidly characterful voices. Excellent.” BBC Music Magazine, June 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Purcell: Odes
Purcell: | Welcome to all the pleasures (from Ode for St Cecilia's Day 1683), Z339 Man that is born of a woman, Z27 In the midst of life, Z 17a Thou know'st, Lord, Z 58b Come ye sons of art (Ode for Queen Mary's birthday, 1694), Z 323 Music for the Funeral of Queen Mary, 1695: March Thou know'st, Lord, Z 58c Canzona Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328 |
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Jeni Bern (soprano), Susan Bisatt (soprano), Thomas Guthrie (bass), Ian Honeyman (tenor), William Purefoy (counter-tenor), Christopher Robson (counter-tenor) Orchestra of the Golden Age, Choir of the Golden Age, Robert Glenton “The vocal soloists are especially fine ... highly respectable performances.” American Record Guide | | | (also available to download from $6.00) | In stock - usually despatched within 1 working day. |
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| |  | Purcell: Come Ye Sons of Art
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| | | Scheduled for release on 17 June 2013. Order it now and we will deliver it as soon as it is available. |
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| |  | Purcell: Funeral Music for Queen Mary, Dioclesian & Sacred Music & Songs
Henry Purcell’s career combined positions at the Chapel Royal and Westminster Abbey and as composer of music for the church and for the people. He is considered by some as the greatest English composer of all time – a position not challenged until the music of Edward Elgar some two centuries later. ‘Despite the abundance of younger stars … none of them yet match Chance’s intelligent delivery and supreme ability to get inside the English language’: so said The Guardian of Michael Chance, one of the world’s most celebrated countertenors and a leading exponent of historically informed performances of the Baroque repertoire. The Choir of Clare College, founded in 1866, continues the venerable tradition of choral singing from Cambridge. As well as performing its liturgical function at daily services at Clare College Chapel, the choir has given premieres of works by composers from Herbert Howells to John Rutter, who was the college’s first music director. Purcell’s life was relatively short – he died at 36. However, the range of music produced during his career (he is thought to have started composing aged nine) is remarkable. This collection spans both his sacred and secular writing, from his music for the funeral of Queen Mary (which was also performed at his funeral service in Westminster Abbey) and the Te Deum and Jubilate Deo written towards the end of his life, to songs and works written for the stage including music for the play Dioclesian. | 
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| |  | Music of Henry PurcellThe Complete Vanguard Recordings Volume 2
Blow: | Ode on the Death of Mr Henry Purcell Alfred Deller (counter-tenor), John Whitworth (counter-tenor),
Christopher Taylor (recorder), Richard Taylor (recorder), Anne Shuttleworth (cello) Walter Bergmann (harpsichord) | Purcell: | Dido and Aeneas Mary Thomas (soprano), Honor Sheppard (soprano), Ellen Dales (soprano), Helen Watts (contralto), Robert Tear (tenor), Maurice Bevan (baritone) Oriana Concert Choir and Orchestra, Alfred Deller Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328 April Cantelo (soprano), Alfred Deller (counter-tenor), Peter Salmon (counter-tenor), Wilfred Brown (tenor), Maurice Bevan (baritone), John Frost (bass), George Eskdale (solo trumpet), Leonard Friedman (violin), Eli Goren (violin), Richard Taylor (treble recorder), Stanley Taylor (treble recorder), Peter Graeme (oboe), Edward Selwyn (oboe), Philip Jones (trumpet), Denis Clift (trumpet), Alan Taylor (tympani), Anna Shuttleworth (cello and basso continuo), Francis Baines (cello and basso continuo), Denis Vaughan (harpsichord) Ambrosian Singers / Kalmar Chamber Orchestra of London, Sir Michael Tippett Welcome to all the pleasures (from Ode for St Cecilia's Day 1683), Z339 Alfred Deller (counter-tenor), April Cantelo (soprano), Eileen McLoughlin (soprano), Gerald English (tenor), Owen Grundy (baritone), Maurice Bevan (baritone) Kalmar Chamber Orchestra, Alfred Deller Come ye sons of art (Ode for Queen Mary's birthday, 1694), Z 323 Alfred Deller (counter-tenor), Mark Deller (counter-tenor), Mary Thomas (soprano), Maurice Bevan (baritone) Oriana Concert Choir and Orchestra, Alfred Deller My beloved spake, Z28 Alfred Deller (counter-tenor), April Cantelo (soprano), Gerald English (tenor), Maurice Bevan (baritone) Kalmar Orchestra of London, Alfred Deller Rejoice in the Lord alway ('The Bell Anthem'), Z49 Alfred Deller (counter-tenor), Mary Thomas (soprano), Honor Sheppard (soprano), Max Worthley (tenor), Robert Tear (tenor), Maurice Bevan (baritone) Oriana Concert Orchestra, Alfred Deller |
Musical Concepts is pleased to announce the second release in one of the most ambitious early music reissue projects of all time — Alfred Deller: The Complete Vanguard Recordings. The series brings together every recording made by Alfred Deller – as solo countertenor, ensemble member of the Deller Consort, and conductor – for the legendary, enterprising Vanguard record label. These recordings created a sensation with their initial release, and have influenced and inspired three generations of music lovers, from casual listeners to the top tiers of performing artists and scholars. Music of England's greatest composer was a speciality of Alfred Deller. His artistry was particularly welll suited to Purcell and Deller's role in establishing the greatness of this music cannot be exaggerated. This collection includes iconic performances of solo vocal works with groundbreaking recordings of operas, sacred music and theatical works which Deller performs and conducts. Being at the forefront of the re-birth of the early music movement, he naturally attracted many of the other supreme artists of the time, all of whom went on to become great figures in their own right. “This second volume of Vanguard's reissued recordings of Alfred Deller and his consort comprises works by Purcell, the composer most closely associated with Deller, and consists of six CDs, well packaged and with a CD-Rom giving access to more detailed information. The first two present a mixed programme of songs, duets and instrumental pieces. The third has a complete performance of Dido and Aeneas conducted by Deller and recorded in 1965. The remaining discs include the Odes to St Cecilia, Come, ye Sonsof Art and music for the Masque in Dioclesian, the whole collection ending with Blow's Ode on theDeath of Mr Henry Purcell. In his middle and later years Deller habitually lightened notes above the centre of his range, so that his style became somewhat predictable and the evenness of his production somewhat impaired. That accounts for main differences between these later performances of such 'signature' pieces as 'Music for a While' and 'Sweeter than Roses': the purity of tone, the extraordinary resonance of lower and middle notes, the technical skill and sensitivity of his singing all remain. As a conductor, he had difficulties, and it cannot be claimed that the Dido is a success. Some stodgy speeds and sluggish rhythms, a pantomime coven of witches, a Dido lacking nobility of tone and an Aeneas out of oratorio make it hard for other contributions (most notably Helen Watts's sorceress) to have their due effect. Still, no doubt the best way of avoiding disappointment is to be prepared for it. That Deller could conduct well, holding his place along with the highly professional Harnoncourt in his Dioclesian and the very personally involved Tippett in Hail, bright Cecilia, is evident in the Odes. Stylish playing by George Malcolm and other instrumentalists (including the young violinist Neville Marriner) gives further pleasure. The album celebrated not only Deller himself but his generation who did so much to bring Purcell out of the text books, the full range of his genius revealed.” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 8 - 10 working days. |
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| |  | 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) | | | In stock - usually despatched within 1 working day. |
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