Henry Purcell (1659-1695)

Part of Radio 3's Composers of the Year 2009 season.

What hope remains now he is gone

Susan Gritton (soprano)

Michael George (bass)

The King's Consort

Robert King (director)

Hyperion CDA 66710 - Tr 5

Staircase Overture

Parley of Instruments Renaissance Violin Band

Peter Holman (director)

Hyperion CDA 66667 - Tr 48

Blow up the trumpet in Sion Z10

King's College Choir

David Willcocks (director)

Fantazia 6 a 4

Phantasm

Simax PSC1124 - Tr 6

My Beloved Spake

The Choir of Christ Church Oxford

Simon Preston (director)

From Silent Shades; How I sigh when I think of the charms of my swain (1680)

If even I more riches did desire Z544

Red Byrd

Hyperion CDA 66750 - Tr 12.

Donald Macleod and Purcell expert Bruce Wood explore the events of Purcell's early years.

Part of Radio 3's Composers of the Year 2009 season.

Once, Twice, Thrice

Brian Etheridge, Michael George, Stephen Roberts (bass)

Teldec 4509979932 T9

She loves and she confesses too

Susan Gritton (soprano)

The King's Consort

Robert King (director)

Hyperion CDA 66730 T1

Welcome vicegerent of the mighty King

Ensemble William Byrd

Graham O'Reilly (conductor)

Adda 581242

Rejoice in the Lord Always

Choir of King's College, Cambridge

Leonhardt Consort

Gustav Leonhardt (director)

Welcome to all the pleasures

Susan Hamilton, Siri Thornhill (soprano)

Robin Blaze, Martin van der Zeijist (countertenor)

Mark Padmore (tenor)

Jonathan Arnold, Peter Harvey (bass)

Chorus and Orchestra of Collegium Vocale

Philippe Herreweghe (director)

Would you know how we meet

Teldec 4509979932 T17.

Donald Macleod follows Purcell's life into adulthood and marriage. With Bruce Wood.

Part of Radio 3's Composers of the Year 2009 season.

Air (Abdelazer)

The Academy of Ancient Music

Christopher Hogwood (conductor)

Decca 475 5292 CD1 T3

Hail to the myrtle shade (Theodosius)

Judith Nelson (soprano)

James Bowman (countertenor)

Decca 4786 5292 CD4 T21

Fly, bold Rebellion! Z324

Gillian Fisher, Tessa Bonner (soprano)

Rogers Covey-Crump (high tenor)

Rufus Muller, Michael George (bass)

King's Consort

Robert King (director)

Hyperion CDA 66412 T1

Dido and Aeneas (Act 2, Sc 1; Act 3, Sc 2)

Catherine Bott, Emma Kirkby (soprano)

John Mark Ainsley (tenor)

Chorus and orchestra of The Academy of Ancient Music

I was glad

The Choir of Christ Church Cathedral choir, Oxford

Simon Preston (director).

Donald Macleod explores Purcell's early theatrical ventures with Bruce Wood.

Part of Radio 3's Composers of the Year 2009 season.

Miserere mei

The Sixteen

Harry Christophers (director)

Coro 16024 T2

O Sing unto the Lord

David Thomas (bass)

Oxford Christ Church Cathedral Choir

Simon Preston (conductor)

Now does the glorious day appear, Z332

Gillian Fisher (soprano)

James Bowman (countertenor)

John Mark Ainsley (tenor)

Michael George (bass)

The King's Consort

Robert King (conductor)

Hyperion CDA 66314 T18 - 28

Of old, when heroes thought it base (The Yorkshire Feast Song, Z333)

Michael Chance (countertenor)

Michael George, Stephen Richardson (bass)

Choir of the English Concert

Trevor Pinnock (director)

Sound, Fame, thy brazen trumpet sound! (Dioclesian, Act 4)

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner (director)

Erato ECD 75473 CD2 T7.

Donald Macleod considers how Purcell adapted to working for two very different monarchs.

Part of Radio 3's Composers of the Year 2009 season.

Overture and dances (Amphitryon)

The Academy of Ancient Music

Christopher Hogwood (conductor)

Fairest Isle; Our natives no alone appear (King Arthur)

Gill Ross (soprano)

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner (conductor)

Erato 4509 96552-2 CD2 T10/13

Long may she reign over this isle (Ode for Queen Mary's Birthday 1692)

Libby Crabtree (soprano)

The Sixteen

Harry Christophers (director)

Coro 16024 T11

Entry of Phoebus; Spring, Summer, Autumn, Winter (The Fairy Queen)

Lorna Anderson (soprano)

Michael Chance (countertenor)

Ian Partridge (tenor)

Michael George (bass)

Coro 16005, CD2 T4, 7-11

Thou knowest, Lord

Choir of Westminster Abbey

New London Consort

Martin Neary (conductor)

Elegy on the Death of Queen Mary (Incassum, Lesbia, incassum rogas)

The Symphony of Harmony and Invention

Harry Christophers (conductor)

Coro 16024 T6

Zempoala; What flatt'ring noise is this? By the croaking of the toad; Trumpet Overture (The Indian Queen)

Rogers Covey Crump (tenor)

Steven Liley (tenor)

Peter Harvey (baritone)

Mark Bennett (trumpet)

The Purcell Symphony Voices

Lynn CKD035 - T10, 11, 19, 22.

Donald Macleod and Bruce Wood explore Purcell's theatrical interests in his later years.

Donald Macleod introduces Purcell's earliest pieces for the stage.

Donald Macleod on the theatre music Purcell wrote under the regime of William and Mary.

Donald Macleod explores Purcell's major collaboration with John Dryden - King Arthur.

Donald Macleod on Purcell's music for an adaptation of A Midsummer Night's Dream.

Henry Purcell was not just the finest Baroque composer to emerge from the British Isles: he was amongst the most gifted and influential composers of any age, with a musical voice that seemed to both look back towards the Renaissance and Elizabethan era, and yet assert a deeply original English individuality.

In barely a decade and a half of mature work, before his tragic death at the age of 36, Purcell lived through a time of political and religious turbulence - writing for no fewer than four monarchs - Charles II, James II and the co-regents William and Mary - in a huge array of genres. A pioneer of English opera and instrumental music, he was also a composer of ravishing sacred music, anthems and odes, and a songsmith of genius.

This week, Donald Macleod explores a selection of his most celebrated and cherished works, peering in through five distinct windows on his short life.

We begin - at the end. Monday looks at Purcell's shocking early death - a seismic event in English musical culture, whose repercussions were felt for decades afterwards - before taking us back to the key years 1679-80, when Purcell first succeeded to the position of organist at Westminster Abbey, at the age of just 19.

In Tuesday's episode we fast forward three years to 1683, and the virtuoso anthem 'They That Go Down To Sea In Ships', written for the remarkable range of the bass singer John Gostling. We also explore one of three Odes to Saint Cecilia, the patron saint of music, that we'll hear this week: 'Welcome To All The Pleasures'.

At the centrepiece of the week on Wednesday is perhaps Purcell's most iconic work: 'Dido and Aeneas'. Donald Macleod examines Purcell's revolutionary first opera, its influence and the power it still holds over us more than three centuries on after its composition in 1689. We'll also hear excerpts from each of the opera's three acts, in a trio of celebrated recordings.

Thursday takes us to 1691-2 and two more operas with elements of English myth and fantasy: 'The Fairy Queen' and 'King Arthur'. The series ends on Red Nose Day - and a rare glimpse at Purcell's bawdy sense of humour! As part of BBC Radio 3's 'Baroque Around The Clock' in support of Comic Relief, we'll hear a handful of the composer's witty and occasionally scurrilous 'catches' for voices.a long way from the stately drama of the stage! We also bring the week to a close with Purcell's last and perhaps most glorious ode to Saint Cecila: 'Come, Ye Sons Of Art', composed in the year of his death, 1695.

---

Donald Macleod begins this week of snapshots of Purcell's life at the very end - by exploring the composer's shocking early death at the age of only 36 - a seismic event in English musical culture, whose repercussions would be felt for many years to come. We then turn the clock back to the beginning of Henry Purcell's musical maturity - his appointment to the post of organist of Westminster Abbey in 1679. Part of BBC Radio 3's 'Baroque Spring': a month long season of baroque music and culture.

The repercussions of Purcell's shocking early death.and his very first mature works.

One of Purcell's most original anthems: the bass showpiece They that Go to Sea in Ships.

Donald Macleod examines Purcell's revolutionary first opera Dido and Aeneas.

We bring the week to a close with Purcell's last and perhaps most glorious ode to Saint Cecila: 'Come, Ye Sons Of Art', composed in the year of his death, 1695. Part of BBC Radio 3's 'Baroque Spring': a month-long season of baroque music and culture.

Celebrating Red Nose Day Donald Macleod explores Purcell's bawdy sense of humour.

Walk along the North Quire Aisle of Westminster Abbey and you'll come to the tablet commemorating Henry Purcell. One of the pre-eminent musicians of the age, he died, unexpectedly and tragically early in 1695 at the age of 37. Yet despite the brevity of his life, Purcell left behind a rich musical legacy. Indeed, with little in the way of biographical detail remaining, it's through his music that glimpses of his character emerge. He was a gifted and prolific composer who wrote with skill and imagination for the opera, the church, theatre, royal patrons and even small domestic forces. Born a few hundred yards away from the Abbey, just south of Tothill Street, as a child he survived the Great Plague and the Fire of London. A chorister of the Chapel Royal, he went on to hold positions at court and at Westminster Abbey over three reigns, Charles II, James II and William and Mary, seemingly able to weather the political storms and prosper under each successive monarchy.

Today Donald looks at Purcell's activities at the start of William and Mary's reign. Asked to provide music for their coronation, Purcell relied on a crafty bit of recycling, serving up an Introit he'd written four years earlier for Mary's father, the now deposed James II. Shortly afterwards he did produce something new, the first of a succession of annual birthday Odes for the new Queen. Meanwhile, he was looking beyond the court to rekindle his interest in the theatre.

Exploring how William and Mary's accession heralded a change in direction for Purcell.

Across the week Donald Macleod charts Purcell's activities during the reign of William and Mary. Cutbacks at court meant fewer commissions, but even though Purcell was asked to write less church music, he was able to cater admirably to the Royal taste for music for special occasions and write prolifically for the theatre.

Walk along the North Quire Aisle of Westminster Abbey and you'll come to the tablet commemorating Henry Purcell. One of the pre-eminent musicians of the age, he died, unexpectedly and tragically early in 1695 at the age of 37. Yet despite the brevity of his life, Purcell left behind a rich musical legacy. Indeed, with little in the way of biographical detail remaining, it's through his music that glimpses of his character emerge. He was a gifted and prolific composer who wrote with skill and imagination for the opera, the church, theatre, royal patrons and even small domestic forces. Born a few hundred yards away from the Abbey, just south of Tothill Street, as a child he survived the Great Plague and the Fire of London. A chorister of the Chapel Royal, he went on to hold positions at court and at Westminster Abbey over three reigns, Charles II, James II and William and Mary, seemingly able to weather the political storms and prosper under each successive monarchy.

As William and Mary's reign gathered pace, Purcell became more involved in writing music for stage productions. He had critical success with the groundbreaking opera 'Dido and Aeneas', leading to a fruitful association with the United Company, a theatrical monopoly of London's theatres.

Donald Macleod discusses Purcell's Dido and Aeneas and Music for a while.

Across the week Donald Macleod charts Purcell's activities during the reign of William and Mary. Cutbacks at court meant fewer commissions, but even though Purcell was asked to write less church music, he was able to cater admirably to the Royal taste for music for special occasions and write prolifically for the theatre.

Walk along the North Quire Aisle of Westminster Abbey and you'll come to the tablet commemorating Henry Purcell. One of the pre-eminent musicians of the age, he died, unexpectedly and tragically early in 1695 at the age of 37. Yet despite the brevity of his life, Purcell left behind a rich musical legacy. Indeed, with little in the way of biographical detail remaining, it's through his music that glimpses of his character emerge. He was a gifted and prolific composer who wrote with skill and imagination for the opera, the church, theatre, royal patrons and even small domestic forces. Born a few hundred yards away from the Abbey, just south of Tothill Street, as a child he survived the Great Plague and the Fire of London. A chorister of the Chapel Royal, he went on to hold positions at court and at Westminster Abbey over three reigns, Charles II, James II and William and Mary, seemingly able to weather the political storms and prosper under each successive monarchy.

Riding high after the success of 'Dioclesian', Purcell's theatrical ventures go from strength to strength. In today's episode there's music from a play by William Congreve and Purcell's most successful collaboration with John Dryden.

Donald Macleod discusses the staging of Purcell's semi-opera King Arthur.

Across the week Donald Macleod charts Purcell's activities during the reign of William and Mary. Cutbacks at court meant fewer commissions, but even though Purcell was asked to write less church music, he was able to cater admirably to the Royal taste for music for special occasions and write prolifically for the theatre.

Walk along the North Quire Aisle of Westminster Abbey and you'll come to the tablet commemorating Henry Purcell. One of the pre-eminent musicians of the age, he died, unexpectedly and tragically early in 1695 at the age of 37. Yet despite the brevity of his life, Purcell left behind a rich musical legacy. Indeed, with little in the way of biographical detail remaining, it's through his music that glimpses of his character emerge. He was a gifted and prolific composer who wrote with skill and imagination for the opera, the church, theatre, royal patrons and even small domestic forces. Born a few hundred yards away from the Abbey, just south of Tothill Street, as a child he survived the Great Plague and the Fire of London. A chorister of the Chapel Royal, he went on to hold positions at court and at Westminster Abbey over three reigns, Charles II, James II and William and Mary, seemingly able to weather the political storms and prosper under each successive monarchy.

In today's episode Donald Macleod follows Purcell's progress at the creative heart of London's theatrical life, when his most expensive production, a setting of Shakespeare's comedy 'A Midsummer Night's Dream' is mounted by the United Company. His vivid word painting and colourful orchestral writing find expression not only on stage but also in works like the Te Deum.

Donald Macleod follows Purcell's progress at the heart of London's theatrical life.

Across the week Donald Macleod charts Purcell's activities during the reign of William and Mary. Cutbacks at court meant fewer commissions, but even though Purcell was asked to write less church music, he was able to cater admirably to the Royal taste for music for special occasions and write prolifically for the theatre.

Walk along the North Quire Aisle of Westminster Abbey and you'll come to the tablet commemorating Henry Purcell. One of the pre-eminent musicians of the age, he died, unexpectedly and tragically early in 1695 at the age of 37. Yet despite the brevity of his life, Purcell left behind a rich musical legacy. Indeed, with little in the way of biographical detail remaining, it's through his music that glimpses of his character emerge. He was a gifted and prolific composer who wrote with skill and imagination for the opera, the church, theatre, royal patrons and even small domestic forces. Born a few hundred yards away from the Abbey, just south of Tothill Street, as a child he survived the Great Plague and the Fire of London. A chorister of the Chapel Royal, he went on to hold positions at court and at Westminster Abbey over three reigns, Charles II, James II and William and Mary, seemingly able to weather the political storms and prosper under each successive monarchy.

In the final part of Donald Macleod's series on Purcell's dramatic works, Purcell's theatrical ventures are interrupted by the death of Queen Mary. Having written some of his most memorable music for her funeral, Purcell returns to the stage for the last time.

Exploring how Purcell's theatrical ventures were interrupted by Queen Mary's death.

Ever the brave explorer, Donald Macleod enters the fray to sift fact from fiction in the life of a musical revolutionary. It's a journey which has at its heart the story of a city. London in Purcell's time was, to the innocent eye, something of a Talibanesque cultural scene. Civil war had seen musical life ripped apart, and plague did its best to ravage any artistic activities which survived. Even secular music was on its knees with playhouses shut down and performers threatened with flogging for taking part in any dramatic pursuits.

But, as we discover, Purcell managed to find opportunity where there seemed to be none. Through his entrepreneurial talent, his collaborative skill and his sheer musical brilliance, the composer forged a career which would mark him as one of the saviours of our musical heritage.

arr Pluhar: Curtain Tune on a Ground

L'Arpeggiata

Christine Pluhar, director

Voluntary for Double Organ

John Butt, organ

O God the King of Glory

The King's Consort

Robert King, director

Hear my Prayer

The Fairy Queen, excerpts

The Sixteen

Harry Christophers, conductor

Amidst the Shades

Barbara Bonney, soprano

Mark Caudle, viol

Robert King, organ

My Heart is Inditing

Voces 8

Les Inventions

Producer: Michael Surcombe.

Donald Macleod on how the aftermath of the English Civil War set stiff tests for Purcell.

arr Jay Bernfeld: Fantasia

It's 1678 and the King has been alerted to a deadly conspiracy. The whole thing reads like 21st-century terrorist plot: Charles is supposedly to be shot, poisoned and stabbed, while a number of cities around the country are to be fire-bombed. The whole thing turns out to be hoax, but its aftermath sees Purcell involved in celebrations for the King's safe return from seasonal travels.

Old Sir Simon the King

Concerto Caledonia

Ode: Welcome Vicegerent

Tragicomedia

Suzi le Blanc, soprano

Barbara Borden, soprano

Belinda Sykes, contralto

Steve Degardin, counter-tenor

Douglas Nasrawi, tenor

Harvey Brough, tenor

Harry van der Kamp, bass

Simon Grant, bass

Stephen Stubbs and Erin Headley, directors

Jehovah quam multi sunt hostes

Paul Agnew, tenor

Konstantin Wolff, bass

Les Arts Florissants

Voluntary in G Z 720

Robert Woolley, organ

Ode: Fly Bold Rebellion

Michael George, bass

Rogers Covey-Crump, tenor

Rufus Muller, tenor

Gillian Fisher, soprano

Tessa Bonner, soprano

James Bowman, counter-tenor

The King's Consort

Robert King, director

Minuet and Sefauchi's Farewell

The Harp Consort

Andrew Lawrence-King, harp/director

Producer: Michael Surcombe.

Donald Macleod on Purcell's journeys through the political highways and byways of his day.

Pavane in B flat Z 750

The Fires of London

Sir Peter Maxwell Davies, conductor

They that Go Down to the Sea in Ships

James Bowman, counter-tenor

Michael George, bass

The King's Consort

Robert King, director

Dido and Aeneas, Act 3

Paul Agnew, tenor, sailor

Felicity Palmer, contralto, sorceress

Susan Graham, mezzo-soprano, Dido

Camilla Tilling, soprano, Belinda

Ian Bostridge, tenor, Aeneas

European Voices

Le Concert d'Astr退e,

Emmanuelle Haim, director

Fantasia

arr Pluhar: Strike the Viol

L'Arpeggiata

Christine Pluhar, director

Blow, blow, Boreas

Rogers Covey-Crump, tenor

David Thomas, bass

Almand

Andrew Lawrence-King, harp

Suite no 8 in F Z 669

Robert Woolley, harpsichord

In guilty night Z 134

Paul Agnew, tenor

Claire Debono, soprano

Konstantin Wolff, bass

Raise, Raise the Voice Z 334

Barbara Borden, soprano

Douglas Nasrawi, tenor

Simon Grant, bass,

Tragicomedia

Stephen Stubbs and Erin Headley, directors

Gentle Shepherds, you that know ('Pastoral Elegy on the Death of Mr John Playford') Z 464 Susan Gritton, soprano,

Michael George, bass

Producer: Michael Surcombe.

Donald Macleod on how Purcell found himself at the centre of a disastrous lottery scheme.

As well as looking at how Purcell's music adapted to the musical and cultural trends, presenter Donald Macleod introduces us to some of the European movers and shakers in the London musical scene.

The Stairre-Case Overture

Musica Amphion

Pieter-Jan Belder, conductor

Seven-part In Nomine

Rose Consorts of Viols

Harpsichord Suite No.7 in D minor

Robert Woolley, harpsichord

Sonata No.9 in F major

Retrospect Trio

Dido and Aeneas, Act 1

Catherine Bott (Dido)

Emma Kirkby (Belinda)

Aeneas (John Mark Ainsley)

Julianne Baird (Second Woman)

Chorus and Orchestra of The Academy of Ancient Music

Christopher Hogwood, conductor

Henry Purcell: Symphony from Ode for St Cecilia's Day, 'Hail, Bright Cecilia

English Chamber Orchestra, Charles Mackerras (conductor).

A look at how Henry Purcell was influenced by music and musicians from all over Europe.

Henry Purcell: I gave her Cakes and I gave her Ale

The Merry Companions

Henry Purcell: A Suite of Lessons, z665

Robert Woolley (harpsichord)

Henry Purcell: Voluntary in D minor, z718

Davitt Moroney (organ)

Henry Purcell: Praise the Lord, O Jerusalem

Choir of Christ Church Cathedral, Oxford, The English Concert, Francis Grier (organ), Simon Preston (conductor)

Henry Purcell: My Lady's Coachman John; As Roger last night to Jenny lay close; Come, Come, Let us Drink

The Merry Companions, The Baltimore Companions

Henry Purcell: Music for a While and Sweeter than Roses

Andreas Scholl (countertenor), Accademia Bizantina, Stefano Montanari (conductor)

Henry Purcell: Incidental Music for Abdelazer

The Parley of Instruments, Peter Holman (director)

Henry Purcell: A Pastoral Elegy on the Death of Mr John Playford

Susan Gritton (soprano), Michael George (bass), The King's Consort.

Donald Macleod looks at the importance of publishing to the spread of Purcell's music.

Henry Purcell: I gave her Cakes and I gave her Ale

The Merry Companions

Henry Purcell: A Suite of Lessons, z665

Robert Woolley (harpsichord)

Henry Purcell: Voluntary in D minor, z718

Davitt Moroney (organ)

Henry Purcell: Praise the Lord, O Jerusalem

Choir of Christ Church Cathedral, Oxford, The English Concert, Francis Grier (organ), Simon Preston (conductor)

Henry Purcell: My Lady's Coachman John; As Roger last night to Jenny lay close; Come, Come, Let us Drink

The Merry Companions, The Baltimore Companions

Henry Purcell: Music for a While and Sweeter than Roses

Andreas Scholl (countertenor), Accademia Bizantina, Stefano Montanari (conductor)

Henry Purcell: Incidental Music for Abdelazer

The Parley of Instruments, Peter Holman (director)

Henry Purcell: A Pastoral Elegy on the Death of Mr John Playford

Susan Gritton (soprano), Michael George (bass), The King's Consort.

Donald Macleod looks at the importance of publishing to the spread of Purcell's music.

Henry Purcell: King Arthur, Act 3 Prelude

The English Concert, Trevor Pinnock (conductor)

Henry Purcell: Welcome, Viceregent of the Mighty King Z340

Tragicomedia, Suzi le Blanc (soprano), Barbara Borden (soprano), Belinda Sykes (contralto), Steve Degardin (countertenor), Douglas Nasrawi (tenor), Harvey Brough (tenor), Harry van der Kamp (bass), Simon Grant (bass), Stephen Stubbs and Erin Headley (directors)

Henry Purcell: I was glad when they said unto me

Choir of Westminster Abbey, Harry Bicket (organ), Simon Preston (conductor)

Henry Purcell: The Way of God is an Undefiled Way

The King's Consort, James Bowman (countertenor), Rogers Covey-Crump (high tenor), Michael George (bass), Choir of New College, Oxford, Robert King (conductor)

Henry Purcell: Come Ye Sons of Art (Birthday Ode for Queen Mary II)

Emily van Evera (soprano), Timothy Wilson (countertenor), John Mark Ainsley (tenor), Charles Daniels (tenor), David Thomas (bass), Tavener Consort, Tavener Choir, Tavener Players, Andrew Parrott (conductor).

Donald Macleod explores the music Purcell composed for the monarchs he served.

Henry Purcell: King Arthur, Act 3 Prelude

The English Concert, Trevor Pinnock (conductor)

Henry Purcell: Welcome, Viceregent of the Mighty King Z340

Tragicomedia, Suzi le Blanc (soprano), Barbara Borden (soprano), Belinda Sykes (contralto), Steve Degardin (countertenor), Douglas Nasrawi (tenor), Harvey Brough (tenor), Harry van der Kamp (bass), Simon Grant (bass), Stephen Stubbs and Erin Headley (directors)

Henry Purcell: I was glad when they said unto me

Choir of Westminster Abbey, Harry Bicket (organ), Simon Preston (conductor)

Henry Purcell: The Way of God is an Undefiled Way

The King's Consort, James Bowman (countertenor), Rogers Covey-Crump (high tenor), Michael George (bass), Choir of New College, Oxford, Robert King (conductor)

Henry Purcell: Come Ye Sons of Art (Birthday Ode for Queen Mary II)

Emily van Evera (soprano), Timothy Wilson (countertenor), John Mark Ainsley (tenor), Charles Daniels (tenor), David Thomas (bass), Tavener Consort, Tavener Choir, Tavener Players, Andrew Parrott (conductor).

Donald Macleod explores the music Purcell composed for the monarchs he served.

Church services always played a major part in Henry Purcell's daily routine - from an early age he was a chorister in the Chapel Royal, and was later appointed Westminster Abbey's organist at the age of twenty, a post he retained for the rest of his life.

Apart from the singing of simple unaccompanied psalms, music in church had been banned during Cromwell's Protectorate but with the Restoration, Charles II re-established the Chapel Royal as the country's major focus of musical life. Barely out of his teens, the young Purcell seized the opportunity to write the full-blown anthems demanded by Charles for religious festivals. From devotional music written for daily services to the dramatic music for the funeral of Queen Mary, Purcell adapted to the demands of all the monarchs he served. Yet he was equally at home writing simple hymns to be performed at home or in small gatherings, such as those published in 1688 as part of the Harmonia sacra anthology.

Henry Purcell: Voluntary in C, z714

Davitt Moroney (organ)

Henry Purcell: Blow Up the Trumpet in Sion

Choir of Trinity College, Cambridge, Richard Marlow (conductor)

Henry Purcell: Magnificat and Nunc Dimitis in B flat

Choir of Christ Church Cathedral, Oxford, Simon Preston (conductor)

Henry Purcell: Harmonia Sacra Selection

A Morning Hymn: Thou wakeful Shepherd, z198

Jill Feldman (soprano), Davitt Moroney (organ)

An Evening Hymn on a Ground: Now that the sun hath veiled his light

Andreas Scholl (countertenor), Accademia Bizantina, Stefano Montanari (conductor)

Henry Purcell: Laudate Ceciliam - from Ode for St Cecilia's Day, z329

James Bowman (countertenor), Mark Padmore (high tenor), Michael George (bass), The King's Consort, Robert King (conductor)

Henry Purcell: Funeral Sentences for the death of Queen Mary

Equale Brass Ensemble, Monteverdi Choir and Orchestra, John Eliot Gardiner (conductor).

Donald Macleod explores the sacred music of English composer Henry Purcell.

Church services always played a major part in Henry Purcell's daily routine - from an early age he was a chorister in the Chapel Royal, and was later appointed Westminster Abbey's organist at the age of twenty, a post he retained for the rest of his life.

Apart from the singing of simple unaccompanied psalms, music in church had been banned during Cromwell's Protectorate but with the Restoration, Charles II re-established the Chapel Royal as the country's major focus of musical life. Barely out of his teens, the young Purcell seized the opportunity to write the full-blown anthems demanded by Charles for religious festivals. From devotional music written for daily services to the dramatic music for the funeral of Queen Mary, Purcell adapted to the demands of all the monarchs he served. Yet he was equally at home writing simple hymns to be performed at home or in small gatherings, such as those published in 1688 as part of the Harmonia sacra anthology.

Henry Purcell: Voluntary in C, z714

Davitt Moroney (organ)

Henry Purcell: Blow Up the Trumpet in Sion

Choir of Trinity College, Cambridge, Richard Marlow (conductor)

Henry Purcell: Magnificat and Nunc Dimitis in B flat

Choir of Christ Church Cathedral, Oxford, Simon Preston (conductor)

Henry Purcell: Harmonia Sacra Selection

A Morning Hymn: Thou wakeful Shepherd, z198

Jill Feldman (soprano), Davitt Moroney (organ)

An Evening Hymn on a Ground: Now that the sun hath veiled his light

Andreas Scholl (countertenor), Accademia Bizantina, Stefano Montanari (conductor)

Henry Purcell: Laudate Ceciliam - from Ode for St Cecilia's Day, z329

James Bowman (countertenor), Mark Padmore (high tenor), Michael George (bass), The King's Consort, Robert King (conductor)

Henry Purcell: Funeral Sentences for the death of Queen Mary

Equale Brass Ensemble, Monteverdi Choir and Orchestra, John Eliot Gardiner (conductor).

Donald Macleod explores the sacred music of English composer Henry Purcell.

Incidental Music for The Virtuous Wife, Overture

The Parley of Instruments, Peter Holman (director)

The Fairy Queen, Overture and Act 1

Eiddwen Harrhy (soprano), Judith Nelson (soprano), Elisabeth Priday (soprano), Stephen Varcoe (bass), David Thomas (bass), The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (conductor)

King Arthur, Act 3

Nancy Argenta (Cupid), Brian Bannatyne-Scott (Cold Genius), Choir of the English Concert, The English Concert, Trevor Pinnock (conductor)

Dido and Aeneas, Act 3

Catherine Bott (Dido), Emma Kirkby (Belinda), Aeneas (John Mark Ainsley), David Thomas (Sorceress), Elizabeth Priday (First Witch), Sara Stowe (Second Witch), Daniel Lochmann (First Sailor), Chorus and Orchestra of The Academy of Ancient Music, Christopher Hogwood (conductor).

Donald Macleod explores Henry Purcell's works for the stage.

Incidental Music for The Virtuous Wife, Overture

The Parley of Instruments, Peter Holman (director)

The Fairy Queen, Overture and Act 1

Eiddwen Harrhy (soprano), Judith Nelson (soprano), Elisabeth Priday (soprano), Stephen Varcoe (bass), David Thomas (bass), The Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (conductor)

King Arthur, Act 3

Nancy Argenta (Cupid), Brian Bannatyne-Scott (Cold Genius), Choir of the English Concert, The English Concert, Trevor Pinnock (conductor)

Dido and Aeneas, Act 3

Catherine Bott (Dido), Emma Kirkby (Belinda), Aeneas (John Mark Ainsley), David Thomas (Sorceress), Elizabeth Priday (First Witch), Sara Stowe (Second Witch), Daniel Lochmann (First Sailor), Chorus and Orchestra of The Academy of Ancient Music, Christopher Hogwood (conductor).

Donald Macleod explores Henry Purcell's works for the stage.

Frustratingly little is known about the tragically abbreviated life of the composer who is arguably Britain's greatest, Henry Purcell. Had he been born twenty years earlier, he would have been old enough to figure in Pepys' Diary, and he might perhaps have been the object of one of the great naval administrator's typically incisive character sketches. But by the time Purcell was taking his first steps in composition in the 1670s, Pepys had already laid down his quill. Purcell kept no diary of his own - at least none has survived - and if he was active as a letter-writer, precious little of his correspondence has come down to us. Our evidence for the facts of the composer's life appears in a sequence of glimpses - a portrait here, an anecdote there, unvarnished entries in the official records of the time. We don't know for certain when or where he was born, or who his father was. We know he married a woman called Frances, who may have been the daughter of a Flemish leather merchant, but we can't be sure. We know that he had six children, four of whom died in infancy. We know that as a child he survived the Plague and the Great Fire of London, but we have no idea what took his life at the age of barely 36, or what other great masterpieces might have flowed from his pen had he survived to enjoy a more normal span of years.

‘Sound the trumpet' (Come ye sons of art, Z323)

Andreas Scholl, Christophe Dumaux, countertenors

Accademia Bizantina

Chacony in G minor, Z730

Orchestra of The Sixteen

Harry Christophers, director

‘I was glad', Z19

Choir of Westminster Abbey

Harry Bicket, organ

Simon Preston, conductor

‘Now does the glorious day appear', Z332

Julia Gooding, soprano

James Bowman, alto

Howard Crook, tenor

David Wilson-Johnson, Michael George, bass

Choir and Orchestra of the Age of Enlightenment

Gustav Leonhardt, conductor

The Indian Queen, Z630 (Act 3, extract)

Stephen Varcoe, baritone (Ismeron)

Martyn Hill, tenor (The God of Dreams)

English Baroque Soloists

John Eliot Gardiner, conductor

‘Thou knowest, Lord', Z58c

Winchester Cathedral Choir

London Baroque Brass

David Hill, conductor

Produced by Chris Barstow for BBC Cymru Wales

The music and life of Henry Purcell. Today, the scanty facts of the composer's biography.

1680 was a year of firsts for Purcell - he wrote his first music for stage, fulfilled his first commission for a royal ‘welcome' ode, took his first (and only) wife, and made his first foray into the world of chamber music, with a sequence of nine fantazias of such dazzling contrapuntal ingenuity and brilliance - not to mention expressive maturity - that you have to marvel at how a composer of just 20 could have possibly pulled off such a dazzling feat.

Theodosius, Z606 (‘Hail to the myrtle shade')

Judith Nelson, soprano

James Bowman, countertenor

The Academy of Ancient Music

Christopher Hogwood, director

Fantazia IV in G minor, Z735

Fantazia V in B flat major, Z736

London Baroque

Theodosius, Z606 (Act 1, scene 1)

Emma Kirkby, Judith Nelson, sopranos

Martyn Hill, tenor

David Thomas, bass

Fantazia VIII in D minor, Z739

Fantazia VI in F major, Z737

Fretwork

‘Welcome, vicegerent of the mighty king', Z340

The Sixteen

Harry Christophers, conductor

Fantazia X in E minor, Z741

Fantazia XI in G major, Z742

Ricercare Consort

Philippe Pierlot, director

Produced by Chris Barstow for BBC Cymru Wales

The music and life of Henry Purcell. Today the focus is on a single remarkable year, 1680.

Given that so little is known about Purcell's life, it's gratifying that a fair number of his compositions can be pinned to particular occasions. Many of these were commissions, like the two Cecilian Odes he wrote for The Musical Society in 1683 and 1692, or the sequence of royal ‘welcome' odes that began in 1680 with ‘Welcome, vicegerent of the mighty king' and ended with ‘Who can from joy refrain', Purcell's ode celebrating the sixth birthday of Prince William, Duke of Gloucester, which he wrote in 1695, the year before his death. ‘They that go down to the sea in ships' was written after the event it commemorates - the narrow escape of the king and his yachting party when a nasty storm blew up around the North Foreland off the Isle of Thanet; having narrowly survived its maiden voyage, the king's new yacht, ‘Fubbs', remained in service for the best part of a century. Occasional music can easily lapse into obscurity after the occasion it was designed for is over - a fate that certainly hasn't befallen the music Purcell provided for the funeral of Queen Mary, whose stark grandeur achieves a kind of universal expression of grief. Grief runs through Purcell's early Funeral Sentences, which were probably written when he was still a chorister at the Chapel Royal. It's not known whose death they commemorate - perhaps that of one of his musical mentors.

March, Z860

Collegium Vocale Gent

Philippe Herreweghe, conductor

Funeral Sentences (Man that is born of a woman, Z27 - In the midst of life, Z17 - Thou knowest, Lord, the secrets of our hearts, Z58b)

Welcome to all the pleasures, Z339

Emily van Evera, soprano

Timothy Wilson, countertenor

John Mark Ainsley, Charles Daniels, tenor

David Thomas, bass

Taverner Consort, Choir & Players

Andrew Parrott, direction

They that go down to the sea in ships, Z57

Matthew Bright, alto

Choir of Christ Church Cathedral, Oxford

The English Concert

Simon Preston, conductor

Of old, when heroes thought it base, Z333 (‘The bashful Thames, for beauty so renowned' - ‘So when the glitt'ring Queen of Night')

John Mark Ainsley, tenor

Trevor Pinnock, conductor

Who can from joy refrain, Z342 (‘If he now burns with noble flame')

Gillian Fisher, Tessa Bonner, soprano

The King's Consort

Robert King, conductor

Produced by Chris Barstow for BBC Cymru Wales

The music and life of Henry Purcell. Today, pieces he wrote to mark specific events.

Music-lovers in late-seventeenth-century London had plenty of opportunity to hear Purcell's music, and in all sorts of places, from taverns to palaces. But above all it was associated with a select group of venues. In the chapel of the old Palace of Whitehall, Purcell's ‘symphony anthems' were regularly heard. The vast, reverberant spaces of Westminster Abbey drew from him a more expansive kind of choral music. During Purcell's lifetime, York Buildings was London's only purpose-built concert hall, but its tiny dimensions - around 900 square feet - made it unsuitable for large-scale performances; for these, Stationers' Hall was the venue of choice. Purcell spent much of the last five years of his life producing music for the theatre, in particular for the Duke's Theatre in Dorset Garden, which was equipped to stage the most spectacular productions. The more modest Hall Theatre, originally the medieval hall at the centre of the Palace of Whitehall, is where Purcell's welcome songs and royal birthday odes would have been heard.

The Fairy Queen, Z629 (Act 3, Symphony while the swans come forward)

The Monteverdi Choir

The English Baroque Orchestra

John Eliot Gardiner, conductor

Rejoice in the Lord alway, Z49 (‘Bell anthem')

The Choir of New College, Oxford

The Band of Instruments

Edward Higginbottom, director

Ye tuneful Muses, Z344 (‘Ye tuneful Muses, raise your heads' - ‘This point of time ends all your grief')

Ben Davies, Stuart Young, bass

Jeremy Budd, tenor

The Sixteen

Harry Christophers, conductor

Hail, Bright Cecilia, Z328 (Symphony)

Gabrieli Players

Paul McCreesh, conductor

My heart is inditing, Z30

Tessa Bonner, Patrizia Kwella, soprano

Kai Wessel, countertenor

Paul Agnew, William Kendall, tenor

Peter Kooy, bass

Collegium Vocale Gent

Philippe Herreweghe, conductor

(Act 4, extract)

Gillian Fisher, soprano (an attendant)

Simon Berridge, Philip Daggett, tenor

Ian Partridge, tenor (Phoebus)

The Symphony of Harmony and Invention

Produced by Chris Barstow for BBC Cymru Wales

The music and life of Henry Purcell. Today, an excursion around six key Purcellian venues.

Earlier programmes this week have primarily focused on music for the liturgy, for the theatre, or for some grand occasion or another, all showing us Purcell's public face. His smaller-scale work - catches, songs, keyboard and chamber music - is generally less well-known, but contains some absolute gems. In a sense, it's the music that Purcell didn't have to write.

‘Since the Duke is return'd', Z271

The Sixteen (Nicholas Mulroy, George Pooley, Jeremy Budd, tenors)

Harry Christophers, conductor

Overture in G, Z770

London Baroque

Suite No 7 in D minor, Z668

Kenneth Gilbert, harpsichord (Couchet-Taskin, Anvers 1671)

Sonata No 7 in E minor, Z796 (Twelve Sonnata's of III Parts)

Purcell Quartet

‘O! Fair Cedaria, hide those eyes', Z402

‘I resolve against cringing and whining', Z386

‘I take no pleasure in the sun's bright beams', Z388

‘She loves and she confesses too', Z413

Maarten Koningsberger, baritone

Fred Jacobs, theorbo

Sonata No 6 in G minor, Z807 (Ten Sonata's in Four Parts)

The Locke Consort

‘Tell me, some pitying angel', Z196 (‘The Blessed Virgin's Expostulation')

Carolyn Sampson, soprano

Elizabeth Kenny, theorbo

Anne-Marie Lasla, bass viol

Laurence Cummings, harpsichord

Fantasia upon one note, Z745

Hesp耀rion XXI

Jordi Savall, director

Produced by Chris Barstow for BBC Cymru Wales.

The music and life of Henry Purcell. Today, music for intimate, domestic settings.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived.

Purcell was a chorister in a court that often couldn't afford to clothe its choirboys, Charles II occasionally having to borrow the money from his own choirmaster. Purcell was taught by John Blow and Matthew Locke, replacing Locke when he died and becoming ‘composer in ordinary' at the court.

The Restoration of the British monarchy triggered an explosion of culture, with music restored to the court after its banishment under Oliver Cromwell. Purcell was at the heart of royal life, and was swiftly appointed organist at Westminster Abbey, then of the Chapel Royal, and Keeper of the King's Instruments.

Today, we hear the political intrigue surrounding Purcell, amidst his earliest music, including - in 1680 alone - his first stage work, Theodosius; his first royal ‘welcome' ode; and his first dazzling collection of chamber music.

Blow up the trumpet in Sion, Z10

Laurence Cummings, organ

Oxford Camerata

Jeremy Summerly, conductor

Welcome, vicegerent of the mighty king, Z340

Barbara Borden, soprano

Belinda Sykes, soprano

Steve Dugardin, countertenor

Douglas Nasrawi, tenor

Harvey Brough, tenor

Harry van der Kamp, bass

Simon Grant, bass

Tragicomedia

Jehova, quam multi sunt hostes mei, Z135

Maldwyn Davies, tenor

John Tomlinson, bass

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner, conductor

Sonata a 4 No. 4 in D minor, Z805

London Baroque

Theodosius, or The Force of Love, Z606

The gate to bliss

Sad as death at dead of night

Hail to the Myrtle Shade

Dream No More of Pleasures Past

Ah! Cruel, Bloody Fate

Judith Nelson, soprano

Emma Kirkby, soprano

Academy of Ancient Music

Christopher Hogwood, conductor

Produced by Iain Chambers

Donald Macleod explores Purcell's turbulent early years.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived.

Purcell was a chorister in a court that often couldn't afford to clothe its choirboys, Charles II occasionally having to borrow the money from his own choirmaster. Purcell was taught by John Blow and Matthew Locke, replacing Locke when he died and becoming ‘composer in ordinary' at the court.

The Restoration of the British monarchy triggered an explosion of culture, with music restored to the court after its banishment under Oliver Cromwell. Purcell was at the heart of royal life, and was swiftly appointed organist at Westminster Abbey, then of the Chapel Royal, and Keeper of the King's Instruments.

Today, we hear the political intrigue surrounding Purcell, amidst his earliest music, including - in 1680 alone - his first stage work, Theodosius; his first royal ‘welcome' ode; and his first dazzling collection of chamber music.

Blow up the trumpet in Sion, Z10

Laurence Cummings, organ

Oxford Camerata

Jeremy Summerly, conductor

Welcome, vicegerent of the mighty king, Z340

Barbara Borden, soprano

Belinda Sykes, soprano

Steve Dugardin, countertenor

Douglas Nasrawi, tenor

Harvey Brough, tenor

Harry van der Kamp, bass

Simon Grant, bass

Tragicomedia

Jehova, quam multi sunt hostes mei, Z135

Maldwyn Davies, tenor

John Tomlinson, bass

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner, conductor

Sonata a 4 No. 4 in D minor, Z805

London Baroque

Theodosius, or The Force of Love, Z606

The gate to bliss

Sad as death at dead of night

Hail to the Myrtle Shade

Dream No More of Pleasures Past

Ah! Cruel, Bloody Fate

Judith Nelson, soprano

Emma Kirkby, soprano

Academy of Ancient Music

Christopher Hogwood, conductor

Produced by Iain Chambers

Donald Macleod explores Purcell's turbulent early years.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the great fire of London, and the arrival of another deadly pandemic.

From his entry into Charles II's court in 1679, Purcell wrote no stage work for six years. His primary job was to write welcome odes for the King's return visits to London. And yet his own personal life was also at its most tumultuous. Married in 1680, Purcell lost his first newborn child the following year, along with his uncle Thomas Purcell in 1681, himself a composer at the court.

Charles II's death in 1685, and his successor James II's overhaul of the Chapel Royal with foreign musicians, led to a musical gear shift for Purcell, who decided to write devotional songs instead of religious anthems.

Morning Service in D, Z232: Te Deum

Trinity Hall Chapel Choir, Cambridge

Andrew Arthur, director

Rejoice in the Lord alway, Z49 `Bell Anthem`

Daniel Collins, tenor

George Pooley, tenor

Ben Davies, bass

The Sixteen

Harry Christophers, conductor

Lord, What is Man? Z192, 'A Divine Hymn

Gabrieli Consort and Players

Paul McCreesh, conductor

Thou wakeful shepherd, Z98 'A Morning Hymn

Elin Manahan Thomas, soprano

David Miller, lute

Now that the sun hath veiled his light, Z193, 'An Evening Hymn on a Ground

Michael Chance, countertenor

Fretwork

Morning Service in D, Z232: Jubilate Deo

Christ Church Cathedral Choir, Oxford

Francis Grier, organ

English Concert

Simon Preston, conductor

Produced by Iain Chambers

Donald Macleod explores Purcell's sacred writing.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the great fire of London, and the arrival of another deadly pandemic.

From his entry into Charles II's court in 1679, Purcell wrote no stage work for six years. His primary job was to write welcome odes for the King's return visits to London. And yet his own personal life was also at its most tumultuous. Married in 1680, Purcell lost his first newborn child the following year, along with his uncle Thomas Purcell in 1681, himself a composer at the court.

Charles II's death in 1685, and his successor James II's overhaul of the Chapel Royal with foreign musicians, led to a musical gear shift for Purcell, who decided to write devotional songs instead of religious anthems.

Morning Service in D, Z232: Te Deum

Trinity Hall Chapel Choir, Cambridge

Andrew Arthur, director

Rejoice in the Lord alway, Z49 `Bell Anthem`

Daniel Collins, tenor

George Pooley, tenor

Ben Davies, bass

The Sixteen

Harry Christophers, conductor

Lord, What is Man? Z192, 'A Divine Hymn

Gabrieli Consort and Players

Paul McCreesh, conductor

Thou wakeful shepherd, Z98 'A Morning Hymn

Elin Manahan Thomas, soprano

David Miller, lute

Now that the sun hath veiled his light, Z193, 'An Evening Hymn on a Ground

Michael Chance, countertenor

Fretwork

Morning Service in D, Z232: Jubilate Deo

Christ Church Cathedral Choir, Oxford

Francis Grier, organ

English Concert

Simon Preston, conductor

Produced by Iain Chambers

Donald Macleod explores Purcell's sacred writing.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the Great Fire of London, and the arrival of another deadly pandemic.

By 1687 London's royal musicians were in rebellious mood, letting their performances at chapel slip. This disobedience was being mirrored by the public at large. Bungling James II had alienated large swathes of the country, as well as influential groups like the bishops, who had wide popular respect. When the King's court case against the bishops failed humiliatingly, Londoners celebrated wildly. It was the beginning of the end for this unpopular ruler.

As a twenty-something court composer, Purcell wrote his first ode to celebrate Charles II's return from summering in Windsor. When William and Mary took the throne in 1689, Purcell wrote odes for special occasions such as the return of the monarchy to court. And for the coronation itself he turned from composer into ticket tout - selling viewing tickets for Westminster Abbey's organ loft, which was under his control.

Some of Purcell's most celebrated work was written as birthday odes for Queen Mary, but by far his most famous and enduring music was that written for her funeral in 1695.

I was glad when they said unto me, Z19

Westminster Abbey Choir

Harry Bicket, organ

Simon Preston, director

Now does the glorious day appear Z332 (opening chorus)

Julia Gooding, soprano

James Bowman, countertenor

Howard Crook, tenor

Michael George, bass-baritone

Choir and Orchestra of the Age of Enlightenment

Gustav Leonhardt, conductor

Love's goddess sure was blind, Z331 (excerpts)

Christopher Robson, countertenor

David Wilson-Johnson, baritone

From hardy Climes and dangerous Toils of War Z325 (excerpts)

Katy Hill, soprano

Kirsty Hopkins, soprano

Jeremy Budd, tenor

Mark Dobell, tenor

The Sixteen

Harry Christophers, conductor

March and Canzona in C minor, Z860

Philip Jones Brass Ensemble

Philip Ledger, conductor

Produced by Iain Chambers

Donald Macleod explores the music Purcell wrote to mark specific occasions.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the Great Fire of London, and the arrival of another deadly pandemic.

By 1687 London's royal musicians were in rebellious mood, letting their performances at chapel slip. This disobedience was being mirrored by the public at large. Bungling James II had alienated large swathes of the country, as well as influential groups like the bishops, who had wide popular respect. When the King's court case against the bishops failed humiliatingly, Londoners celebrated wildly. It was the beginning of the end for this unpopular ruler.

As a twenty-something court composer, Purcell wrote his first ode to celebrate Charles II's return from summering in Windsor. When William and Mary took the throne in 1689, Purcell wrote odes for special occasions such as the return of the monarchy to court. And for the coronation itself he turned from composer into ticket tout - selling viewing tickets for Westminster Abbey's organ loft, which was under his control.

Some of Purcell's most celebrated work was written as birthday odes for Queen Mary, but by far his most famous and enduring music was that written for her funeral in 1695.

I was glad when they said unto me, Z19

Westminster Abbey Choir

Harry Bicket, organ

Simon Preston, director

Now does the glorious day appear Z332 (opening chorus)

Julia Gooding, soprano

James Bowman, countertenor

Howard Crook, tenor

Michael George, bass-baritone

Choir and Orchestra of the Age of Enlightenment

Gustav Leonhardt, conductor

Love's goddess sure was blind, Z331 (excerpts)

Christopher Robson, countertenor

David Wilson-Johnson, baritone

From hardy Climes and dangerous Toils of War Z325 (excerpts)

Katy Hill, soprano

Kirsty Hopkins, soprano

Jeremy Budd, tenor

Mark Dobell, tenor

The Sixteen

Harry Christophers, conductor

March and Canzona in C minor, Z860

Philip Jones Brass Ensemble

Philip Ledger, conductor

Produced by Iain Chambers

Donald Macleod explores the music Purcell wrote to mark specific occasions.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the great fire of London, and the arrival of another deadly pandemic.

A homesick William III hated London, and was not a big patron of the arts as his predecessor, Charles II, had been. The court lost its importance as the centre of London's musical life and Purcell increasingly turned his attention towards theatre and public concerts. Many set the words of John Dryden, including the comedy Amphitryon, The Indian Queen and King Arthur. In 1689, the year William and Mary were crowned, Purcell wrote his only full opera, Dido and Aeneas.

Dido and Aeneas, Z626 (excerpts)

Emily Van Evera, soprano (Dido)

Janet Lax, mezzo-soprano (Belinda)

Taverner Players

Andrew Parrott, conductor

The Fairy Queen, Z629 (excerpts)

Scholars Baroque Ensemble

The Indian Queen, Z630 (excerpts)

Emma Kirkby, soprano

John Mark Ainsley, tenor

Julian Podger, tenor

Helen Parker, soprano

Libby Crabtree, soprano

David Thomas, bass

Academy of Ancient Music Choir

Christopher Hogwood, conductor

King Arthur, Z628, 'The British Worthy' (excerpts)

Gillian Ross, soprano

Paul Elliott, tenor

Stephen Varcoe, bass-baritone

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner, conductor

Produced by Iain Chambers

Donald Macleod takes us backstage in London's new Restoration-era theatres.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the great fire of London, and the arrival of another deadly pandemic.

A homesick William III hated London, and was not a big patron of the arts as his predecessor, Charles II, had been. The court lost its importance as the centre of London's musical life and Purcell increasingly turned his attention towards theatre and public concerts. Many set the words of John Dryden, including the comedy Amphitryon, The Indian Queen and King Arthur. In 1689, the year William and Mary were crowned, Purcell wrote his only full opera, Dido and Aeneas.

Dido and Aeneas, Z626 (excerpts)

Emily Van Evera, soprano (Dido)

Janet Lax, mezzo-soprano (Belinda)

Taverner Players

Andrew Parrott, conductor

The Fairy Queen, Z629 (excerpts)

Scholars Baroque Ensemble

The Indian Queen, Z630 (excerpts)

Emma Kirkby, soprano

John Mark Ainsley, tenor

Julian Podger, tenor

Helen Parker, soprano

Libby Crabtree, soprano

David Thomas, bass

Academy of Ancient Music Choir

Christopher Hogwood, conductor

King Arthur, Z628, 'The British Worthy' (excerpts)

Gillian Ross, soprano

Paul Elliott, tenor

Stephen Varcoe, bass-baritone

Monteverdi Choir

English Baroque Soloists

John Eliot Gardiner, conductor

Produced by Iain Chambers

Donald Macleod takes us backstage in London's new Restoration-era theatres.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the Great Fire of London, and the arrival of another deadly pandemic.

In the final six years of his life, Purcell wrote music for forty-two plays, whilst keeping up a regular output of odes and intimate music for domestic settings. Some of Purcell's most affecting songs were published in his 1693 collection of divine hymns. We also hear the composer with a point to prove on behalf of English musicians in Thomas Betterton's semi-opera The Prophetess. Tragedy struck London once again in 1694 when smallpox swept the capital, killing Queen Mary. A few months after, Purcell himself died, tragically young, aged thirty-six.

The Prophetess, or The History of Dioclesian, Z629 (excerpt)

Collegium Musicum 90

Richard Hickox, conductor

Music for the Funeral of Queen Mary, Z. 860i

Tessa Bonner, soprano

William Kendall, tenor

Kai Wessel, countertenor

Paul Agnew, tenor

Patrizia Kwella, soprano

Collegium Vocale Gent

Collegium Vocale Gent Orchestra

Philippe Herreweghe, conductor

Incassum Lesbia, incassum rogas, Z83

Carys Lane, soprano

Laurence Cummings, organ

Play Music for Abdelazer (excerpts)

Academy of Ancient Music

Christopher Hogwood, conductor

From Rosy Bowers

St退phanie d'Oustrac, mezzo-soprano

Amarillis

Heloise Gaillard, director

Produced by Iain Chambers

Donald Macleod explores what we know of Purcell's private life.

This week of programmes sets Purcell's work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the Great Fire of London, and the arrival of another deadly pandemic.

In the final six years of his life, Purcell wrote music for forty-two plays, whilst keeping up a regular output of odes and intimate music for domestic settings. Some of Purcell's most affecting songs were published in his 1693 collection of divine hymns. We also hear the composer with a point to prove on behalf of English musicians in Thomas Betterton's semi-opera The Prophetess. Tragedy struck London once again in 1694 when smallpox swept the capital, killing Queen Mary. A few months after, Purcell himself died, tragically young, aged thirty-six.

The Prophetess, or The History of Dioclesian, Z629 (excerpt)

Collegium Musicum 90

Richard Hickox, conductor

Music for the Funeral of Queen Mary, Z. 860i

Tessa Bonner, soprano

William Kendall, tenor

Kai Wessel, countertenor

Paul Agnew, tenor

Patrizia Kwella, soprano

Collegium Vocale Gent

Collegium Vocale Gent Orchestra

Philippe Herreweghe, conductor

Incassum Lesbia, incassum rogas, Z83

Carys Lane, soprano

Laurence Cummings, organ

Play Music for Abdelazer (excerpts)

Academy of Ancient Music

Christopher Hogwood, conductor

From Rosy Bowers

St退phanie d'Oustrac, mezzo-soprano

Amarillis

Heloise Gaillard, director

Produced by Iain Chambers

Donald Macleod explores what we know of Purcell's private life.