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Henry Purcell James Bowman Andreas Scholl Orchestra Age Enlightenment Children Chapel Royal Festival Hall 1694 1695 2008
High resolution and stereo sound: (http•••) Henry Purcell Come, ye sons of art, Z 323 Birthday Ode for Queen Mary, 1694 "Sound the trumpet" Text: Probably by Nahum Tate In this video: Countertenor 1: James Bowman Countertenor 2: Andreas Scholl Orchestra of the Age of Enlightenment From the live performance at Royal Festival Hall Wednesday 11 June 2008 James Bowman, who was the presenter of the concert, and Andreas Scholl singing the duet "Sound the trumpet" from Purcell's ode "Come, ye sons of art" as an encore. Note that James Bowman is 66 years old here and Scholl is 40. "In the time of Purcell, odes were composed by the Master of the Children of the Chapel Royal. Although Purcell was never appointed to head the Chapel Royal, he was a favorite composer of the king, so it fell to him to compose odes for the birthday of Queen Mary II in 1694. Come, Ye Sons of Art, Away was the final birthday ode Purcell composed for Queen Mary; by the end of 1695 both she and Purcell had passed away. 'Sound the Trumpet' is a striking duet for two countertenors. The melody dances over a ground bass as the singers imitate the sound of trumpets." All Music Guide Text: Sound the trumpet till around You make the list'ning shores rebound. On the sprightly hautboy play all the instruments of joy that skillful numbers can employ to celebrate the glories of this day.
John Blow Henry Purcell Christopher Gibbons Gibbons Rais Children Chapel 1648 1649 1668 1674 1679 1687 1690 1695 1703 1708
Playing pieces on my Chamber Organ. This minuet is on the 4' stop exclusively. (http•••) John Blow, organist and composer, was buried in the north choir aisle of Westminster Abbey on 8 October 1708, near the door which at that time led to the organ. He was born in Nottinghamshire in about 1648, one of three children of Henry Blow and his wife Katherine. He was educated at the Chapel Royal and became Organist of Westminster Abbey in late 1668. In 1674 he married Elizabeth Braddock, daughter of Edward Braddock, Master of the Choristers at the Abbey.(Edward was buried in the north cloister in 1708 and his wife Elizabeth in 1690). He resigned his post as organist in 1679 in favour of his pupil Henry Purcell, but resumed it again on Purcell's death in 1695 and held the office until 1708. Blow was organist and Master of the Children at the Chapel Royal and Composer in Ordinary to James II. From 1687-1703 he was also Master of the Choristers at St Paul's Cathedral. He wrote anthems for the coronations of James II and William III, together with many odes, songs, sacred works and instrumental pieces. Venus and Adonis was his only dramatic work. A white marble cartouche was erected on the wall near his grave. The inscription reads: "Here lies the body of JOHN BLOW, Doctor in MUSICK: who was Organist, Composer and Master of the Children of the Chapel Royal, for the space of 35 years; in the reigns of K.Charles the 2nd, K.James the 2nd, K.William and Q.Mary, and Her present Majesty Q.ANNE: and also Organist of this Collegiate Church about 15 years. He was Scholar to the excellent musician Dr Christopher Gibbons and Master to the famous Mr H.Purcell, and most of the eminent masters in musick since. He died Octob. ye 1st 1708, in ye 60th year of his age. His own musical compositions, (especially his church musick) are a far noble monument to his memory, than any other can be rais'd for him." He was at the Abbey for a much longer period than the tablet implies. At the base is a tablet showing the score of Blow's canon Gloria Patri from his service in G major. The coat of arms at the top is that adopted by Blow but seems to have been painted on at a much later date.
William Cornysh Tallis Peter Philips John Browne Robert Fayrfax Gaude Thomas Weelkes Tallis Scholars Children Chapel 1465 1509 1513 1523
*Sounds (almost) a semitone higher than score* Stabat Mater Composer: William Cornysh (ca. 1465 - 1523) Performers: The Tallis Scholars, dir. Peter Philips / "William Cornysh lived at a crucial moment in the development of English music. On the one hand he contributed to the last and most florid style to be found in the Eton Choirbook; and on the other he must have realized that this style could go no further, beginning to simplify his music and thus setting a technique for the future. There is therefore considerable variety in his small output, and this recording, which contains all the sacred music by him which may be reconstructed and a selection of his secular compositions, reflects it: from the unparalleled complexities of the last phrases of the Magnificat to the naive directness of Ah, Robin. Cornysh was an early and rare example of what is now called the ‘Renaissance artist’. A man of remarkable intelligence, he was well known in his lifetime not only as an outstanding musician, but also as a poet, dramatist and actor. Unfortunately, none of his dramatic writings has survived, though there is a poem by him in the British Library entitled ‘A Treatise bitwene Trouth and Enformacion’ which was written while he was serving a jail sentence in the Fleet Prison. In this he claimed that he had been convicted by false information and thus wrongfully accused, though it is not known exactly what the accusation was. As an actor he took part in many plays at court, some of which have survived [...]. As a musician Cornysh had the most prestigious employment at court – as Master of the Children of the Chapel Royal – which he fulfilled from 1509 until his death in 1523. Part of his job was to train the choristers, and it is probable that he was responsible for the very high standard of singing in the Chapel Royal choir which so amazed the French in the early years of the sixteenth century. In September 1513 Cornysh took the choir to France, giving performances in the area around Lille, and there survive several descriptions of how impressive these performances were. Their reception was almost certainly caused by the combination of the high treble voice and the technically very intricate style of English compositions of the time. Nothing would have shown this off better than Cornysh’s own Salve regina or Magnificat, though he might equally have performed the music of John Browne, Robert Fayrfax or any of the other composers represented in the Eton Choirbook. Several of his larger-scale sacred pieces are now lost, including several settings of the Mass. Those that remain are all in the Eton Choirbook, except for the Magnificat, which is in the Caius Choirbook. Even within these sacred pieces there is evidence that Cornysh wished to find a solution to the stylistic cul-de-sac with which his most complicated music presented him. By contrast with the fearsome ornaments and unusually wide overall compass of the Magnificat (three octaves and a fifth), a piece like Ave Maria, mater Dei seems quite straightforward, being scored only for men’s voices and with the melodic lines being more genuinely linear. Gaude virgo mater Christi is in a similar style to this, while the Salve regina belongs to the florid repertoire. The Stabat mater is a masterpiece which contains frequent contrasts between ornate and simpler passages: these juxtapositions are something of a speciality of Cornysh’s. That this setting is less well known might be because the opening sections survive incomplete, though these have been reconstructed by Professor Frank Harrison. In general Cornysh’s style is less introverted than that of his greatest contemporary, John Browne. Cornysh always seemed to be striving for the most brilliant effect, or the most pathetic tone, a way of thinking which would have made him perfectly suited to the madrigal a hundred years later, and makes him reminiscent of Thomas Weelkes. [...]" ~Peter Philips Source: (http•••) / For education, promotion and entertainment purposes only. I do not own rights to the score or the performance. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
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