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Henry Purcell (1659-1695): Music for the Theatre

00:00 The Fairy Queen: Entry of Phoebus (Act IV) Z629/30 * - Symphony (Act IV): Largo Z629/27c - Dance for the Haymakers (Act III) Z629/24a - First Music: Hornpipe Z629/1b - Dance for the Fairies (Act III) Z629/19 * - Symphony (Act V) Z629/42 - Aria of the Night (Act II) Z629/11 - Prelude (Act V) Z629/39a - Second Music: Rondeau Z629/2b * - Jig: First Act Tune Z629/6 15:58 The Indian Queen: Trumpet Tune (Act II) Z630/9a - Fourth Act Tune Z630/20 - Aria (Act II) Z630/17h - Symphony (Act II): Adagio Z630/5c - First Music: First Air Z630/1a - Symphony (Act III) Z630/14 - Air (Act V) Z630/22 26:05 King Arthur: Trumpet Tune (Act V) Z628/40 * - Second Music: Air Z628/3 * - Symphony (Act V) Z628/33 - Hornpipe (Act II) Z628/17b - Passacaglia (Act IV) Z628/30a-d - Aria of Venus (Act V) ¨Fairest Isle, all isles excelling¨ Z628/38 - Hornpipe: Second Act Tune Z628/18 38:23 Dramatic Music: Overture from Bonduca (1695) Z574/1 - Bourrée from The Old Bachelor (?1692) Z607/7 - Rondeau from Abdelazer (1695) Z570/2 - Air from Bonduca (1695) Z574/8 - Aria of Pandora from Pausanias (1695) ¨Sweeter than roses, or cool ev’ning breeze¨ Z585/1 - Jig from The Married Beau (1694) Z603/6 - Air from Distressed Innocence (?1690) - Saraband from Amphitryon (1690) Z571/2 - Air from The Double Dealer (1693) Z592/9 Bath Festival Orchestra - Yehudi Menuhi, conductor / Joan Carlyle, soprano Continuo: Colin Tilney (harpsichord by Thomas Goff) & Derek Simpson (cello) Performed from editions of N. D. Boyling An asterisk marks those movements in which the instrumentation is editorial, and the “Z’ numbers refer to the complete catalogue of Purcell’s works by Franklin B. Zimmerman, St. Martin’s Press, 1963. Ornamentation has been added freely: that in the aria “Fairest Isle” is contemporary. HENRY PURCELL wrote three distinct types of music for the theatre — true opera (Dido and Aeneas is the only example), semiopera (in which the chief characters do not themselves sing) and incidental music for plays. There are six semioperas: Dioclesian (1690), King Arthur (1691), The Fairy Queen (1692), Timon of Athens (about 1694, probably not wholly his), The Indian Queen and The Tempest (1695); these differ very much in their basic plan. King Arthur is the only one with a libretto specially written for it; its music is the most integrated of all. The Fairy Queen, which is largely Shakespeare’s Midsummer Night's Dream with some additional dialogue, has music principally to subdivide the various scenes and acts. Purcell contributed overtures, dances, curtain-tunes and songs to forty-four plays, beginning with a song for King Richard II (1680). The largest single group was seventeen items for Bonduca (1695). Unfortunately very little of Purcell’s theatre music exists in his own handwriting. We have a few sections of Dioclesian and The Fairy Queen and music from fifteen of the plays. The various other sources differ so widely that it is almost impossible to determine what a complete performance of any of these works should consist of. Simply to perform what is thought to be the complete music but without the spoken text can produce some strange results — for example, in The Fairy Queen Juno’s song “Thrice happy lovers” is followed in the score by the plaint “O let me weep”; without interpolating Oberon’s words such a juxtaposition makes little or no sense. At the end of the 17th and at the beginning of the 18th century a number of Suites were prepared, the most important being A Collection of Ayres, Compos’d for the Theatre, and upon Other Occasions, published by Purcell’s widow in 1697 and dedicated to Charles, Duke of Somerset. On the lines of such collections four Suites of some of Purcell’s finest compositions have been recorded here — items from The Fairy Queen, The Indian Queen, King Arthur and a group of plays. New editions of all these pieces have been prepared from sources in the British Museum, London; Fitzwilliam Museum, Cambridge; and in the library of the British Council and from manuscripts in the Royal Academy of Music and the Royal College of Music (by kind permission of the Principals). These sources often only vaguely hint at the instrumentation to be adopted or differ to such an extent as to imply personal choice. I have therefore felt free to make use of instruments known to have been available to Purcell. A trumpet has been added to the “Trumpet Tunes” when the notes are part of the harmonic series of the natural trumpet. Oboes and a bassoon have been added for contrast. Remembering that the lowest note of Purcell’s oboe was middle C, a few bars of the King Arthur Passacaglia have been rewritten, as in one manuscript, to avoid the B flat. Recorders have been used in music associated with Fairies, deities and pastoral scenes.