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16,95 €

Henry Purcell
Serenading Songs (& Grounds)


REF.: ARS 38525
EAN 13: 4260052385258
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el jueves 17/10/2019

La música de Henry Purcell destaca por sus perfiles melódicos y su capacidad para conmover. Pero más allá de estos rasgos, es en la forma de poner música a la energía de la palabra inglesa donde el Orfeo británico parece sentirse más cómodo. Jean Tubéry sabe mostrar toda esa sutileza sin por ello perder la profundidad de su poética.

FECHA DE PUBLICACIÓN
01/08/2017

INTÉRPRETES
Ensemble La Fenice
Jean Tubéry, dirección


CONTENIDO
Henry Purcell (1659-1695): 

1Hark how the wild musicians sing
2Soft notes and gently raised (a serenading song)
3Sonata VI in 3 parts
4Fairest isle, gentle murmurs
5A new irish tune
6Hornpipes
7Ground upon Gamut
8All people that on earth

"The old hundredth" / Voluntary on the 100th psalm tune
Alternatim voice & organ
9How pleasant is this flowery plain…
10Three treble parts upon a ground
11A new ground
12Music for a while shall all your cares beguile
13No stars again shall hurt you


1 CD - DDD - 54:49

RESEÑA (La Quinta de Mahler)

Purcell’s music is above all memorably tuneful in a new way for English music. But apart from its prolific melody, it also has two highly individual features – the manifest appeal of the often haunting poems and, structurally, the regular use of the ostinato bass (ground) in both his vocal and instrumental music. With regard to the texts of his songs, the editor of the posthumous anthology Orpheus Britannicus (published in 1698), Henry Playford, praised Purcell’s ‘particular genius to express the energy of English words’ and especially the ‘serenading songs’. 

The opening number here, ‘Hark how the wild musicians sing’, is a prime example, with two or three singers alternating tenderness and wildness, accompanied by two treble recorders and basso continuo. ‘Soft notes and gently raised’ which follows (rapturously sung by Céline Scheen) is a lyrical song with a recorder obbligato, which soon becomes a duet with the bass, Stephan MacLeod. We all know ‘The Old Hundredth’ and it is presented magnetically in three forms, including an organ voluntary, vividly played by David Van Bouwel on the fine organ at the Lyons Trinity Chapel where the recordings were made. 

The ambitious instrumental Sonata in Three Parts shows Purcell’s skill in following the style of the ‘most fam’d Italian masters’ and how inventively he did it, while the Three Treble Parts upon a Ground is equally resourceful and ear-tickling. But it is Purcell’s tunes that count, not least the lovely ‘Fairest Isle’, sung here very beautifully by Hana Blažíková, and ‘Music for a while’, again featuring the delightful Céline Scheen. Throughout the Ensemble La Fenice directed by Jean Tubéry give admirable support.

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