Henry Purcell (1659-1695) The Tempest; If ever I more riches did desire; Trumpet Pieces The English composer Henry Purcell died at a tragically young age, a...
Henry Purcell
(1659-1695)
The Tempest; If ever I
more riches did desire; Trumpet Pieces
The English composer Henry Purcell died at a tragically young age, a
victim of a cold he caught, having been locked out by his wife because he had
come home too late, according to one account of the matter. Yet, for his
thirty-six years, he wrote an extraordinary amount of music, both religious and
secular. By the age of eighteen he had spent eight years in the service of the
Chapel Royal, until 1673 as a chorister and thereafter as an assistant to the
Keeper of the King's Instruments. By 1677, when he was appointed by King
Charles II to the post of Composer in Ordinary for the Violins, on the death of
his friend and mentor, Matthew Locke, he had already been composing for ten
years.
With the restoration of the English monarchy in 1660, King Charles II,
who had spent part of his exile in France, was quick to bring back music again
to the court and theatre. He restored the practices of the Church of England
which had prevailed before the ten years of Puritan dictatorship and
established a Band of Twenty-Four Violins on the model of the Vingt-Quatre
Violons of Louis XIV. This is the model used for the present recording.
The setting of Abraham Cowley's If ever I more riches did desire, Z.
544, a poem based on Seneca, was written in the 1680s, presumably for
performance at court. It is a type of miniature cantata on the theme of the
transitoriness of life. Central is the ground for tenor, Here let my life
with as much silence slide, in which the descending figure in the bass
symbolizes the inexorable passing of time. This sets up a poignant mood of
yearning with the violin and voice. The work prefigures the dramatic music of
the 1690s.
The return of King Charles II had a huge impact on the theatre. After
years of disuse under the rule of Cromwell, the theatres were reopened and
there was a new explosion of creativity. Old plays were rewritten or adapted in
various ways, with the ever-present example of French opera and ballet. The
result was an increase in the amount of music and dance in the plays, but,
while the French and Italians had developed the form of opera, a continuous
flow of dramatic music, composers in England at this time favoured masques,
additional elements usually between acts of a play and not central to the
dramatic theme. With Purcell's hand the music came to rival the spoken text
resulting in what Roger North called a semi-opera. Dioclesian, The Fairy
Queen, King Arthur and The Indian Queen stand on their own, even
without the spoken text.
The music for The Tempest is a characteristic example of
theatre-music of the time. The first Restoration revival of Shakespeare's play The
Tempest was in 1667 in an adaptation by John Dryden. This was revised in
1674 by Thomas Shadwell with a version that seems to have been used until the
1690s, when the adaptation presented here, and long attributed to Purcell,
became popular. Nevertheless only Dorinda's song, Dear pretty youth ([10])
is definitely by Purcell. For this reason this beautiful music has enjoyed less
favour. Even in his later works Purcell never wrote Italianate da capo arias,
as heard here, and this has added further doubt to its authenticity.
The version of The Tempest presented on this recording is from an
early eighteenth century copy (attributed to Purcell) in the library of the
University of Toronto. It differs from other versions in depicting the
characters of the second act as Spirits and not Devils and in the omission of
the chorus Nereids and Tritons from the fifth act. The Dance of the
Winds ([5]), Come unto these yellow sands ([6]) and Dance of
the Spirits ([9]), exist in two-part versions and so were reconstructed by
the conductor. We have added the Overture (Z. 770), which is a French-
style overture to an unknown Purcell work and ended with the Chacony (Z.
730), a well-known example of Purcell's inventive imagination, a movement on a
ground-bass with some eighteen repetitions of the same bass-line in four
minutes of music.
The two trumpet works by Purcell included confirm the view that the most
interesting trumpet writing in the seventeenth century was his. It has been
suggested that the Sonata in D, Z. 850, may be the overture to a lost
Purcell ode, Light of the World.
Other matters worthy of note in this recording are the use of the
wind-machine ([5]), reconstructed after seventeenth-century models. As was
usual at the time, particularly in France, and following the practices of both
the Band of Twenty-Four Violins and the French court Vingt-Quatre Violons, oboes,
recorders and bassoons are added to the score.
Kevin Mallon