Episodes
Series | Episode | Title | First Broadcast | Repeated | Comments |
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2009 | 01 | 20090105 | Donald Macleod and Purcell expert Bruce Wood look at the important events of Purcell's early years. The years of the Commonwealth were lean times for musicians. The restoration of monarchy brought the re-establishment of Royal Music and young Purcell was quick to follow in the family tradition in the service of the King. 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. | ||
2009 | 02 | 20090106 | Donald Macleod and Bruce Wood chart Purcell's progress in his early 20s. By this time he was married and working at Charles II's court. He was also holding down duties at Westminster Abbey. Life was good, yet tinged at the same time with sadness as he had to cope with a number of deaths in his family including two of his own children. 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. | ||
2009 | 03 | 20090107 | Donald Macleod and Bruce Wood discuss Purcell's earliest theatrical jobs, looking at what effect the political intrigues of the time had on Purcell's other jobs as a court and church musician. Versatility was a necessity in Purcell's age. Early on in his career he successfully dipped his toe into theatrical waters, producing some hit music for Nathaniel Lee's Theodosius. 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. | ||
2009 | 04 | 20090108 | Donald Macleod is joined by Bruce Wood to consider how Purcell responded to two very different reigns: the Catholic James II and Protestants William and Mary of Orange. 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. | ||
2009 | 05 LAST | 20090109 | Donald Macleod is joined by Bruce Wood to explore Purcell's theatrical interests in his later years. Following the accession of William and Mary of Orange, music at court was scaled down. Purcell turned very successfully to the stage and became involved in several ground-breaking dramatic works including King Arthur and The Fairy Queen. 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. | ||
2011 | 01 | Before The 'glorious' Revolution | 20110509 | 20120220 (R3) | Donald Macleod explores Purcell's earliest contributions to the theatre, from a smattering of songs for plays in the 1680s, to his only 'all-sung' work for the stage which has eclipsed all his other theatre music - Dido and Aeneas. Privately performed before the composer had established himself in the professional theatre, it is now the only piece with a secure place in the modern repertoire. Donald Macleod introduces Purcell's earliest pieces for the stage. |
2011 | 02 | Equal With The Best Abroad | 20110510 | 20120221 (R3) | In the last five years of his life Purcell was to contribute music to around 50 stage productions. The reign of William and Mary brought about a scaling back of court music, so the composer turned to the theatre as a source of income. He became a more public figure in the process, and began to work with playwrights such as John Dryden, chief poet of the Restoration. With Donald Macleod. Donald Macleod on the theatre music Purcell wrote under the regime of William and Mary. |
2011 | 03 | Thou Genius Of This Isle | 20110511 | 20120222 (R3) | Donald Macleod explores Purcell's major collaboration with John Dryden, King Arthur, and looks at some of the characters populating London's theatrical world in the 1690s. A spoken verse drama 'adorn'd with Scenes, Machines, Songs and Dances', King Arthur features the extraordinary Frost Scene. A military hero and British virtues made it appropriate to the current regime, and there was also room for reflection on the new commercial ethos of the times, with songs in praise of Britain's chief exports, fish and wool... Donald Macleod explores Purcell's major collaboration with John Dryden - King Arthur. |
2011 | 04 | We'll Try A Thousand Charming Ways To Win Ye | 20110512 | 20120223 (R3) | Donald Macleod explores Purcell's music for a spectacular 1692 adaptation of Shakespeare's A Midsummer Night's Dream, The Fairy Queen. Later that year the London stage faced disasters involving its principal performers - the worst being the murder of the actor William Mountfort, by an army officer, over the star actress Anne Bracegirdle. This was a bad omen for the United Company, which thanks to financial mismanagement was on the brink of collapse. Donald Macleod on Purcell's music for an adaptation of A Midsummer Night's Dream. |
2011 | 05 LAST | In His Sickness | 20110513 | 20120224 (R3) | Donald Macleod explores the later works Purcell wrote for the stage. |
2013 | 01 | From The End To The Beginning | 20130311 | As part of BBC Radio 3's Baroque Spring season, Donald Macleod presents five snapshots of the greatest English composer of the era - a man whose uniquely original music still has the power to beguile, amuse, enrapture and disturb more than 450 years after his death. 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. | |
2013 | 02 | The Year 1683 | 20130312 | Donald Macleod explores one of Purcell's most original anthems: the virtuoso showpiece for bass 'They That Go To Sea In Ships', written for singer John Gostling. He also introduces the first of three Odes to Saint Cecilia, the patron saint of music, that we'll hear this week: 'Welcome To All The Pleasures'. Part of a month long season of baroque music and culture. One of Purcell's most original anthems: the bass showpiece They that Go to Sea in Ships. | |
2013 | 03 | Dido And Aeneas | 20130313 | Donald Macleod examines Purcell's revolutionary first opera, 'Dido and Aeneas', and the influence and power it still holds over us more than three centuries on after its composition in 1689. He introduces excerpts from each of the opera's three acts, in a trio of celebrated recordings. Part of BBC Radio 3's 'Baroque Spring': a month long season of baroque music and culture. Donald Macleod examines Purcell's revolutionary first opera Dido and Aeneas. | |
2013 | 04 | The Years 1691-92 | 20130314 | Donald Macleod explores English myth and fantasy in The Fairy Queen and King Arthur. | |
2013 | 05 LAST | Catch Me If You Can | 20130315 | As BBC Radio 3 celebrates Red Nose Day with 'Baroque around the Clock', Donald Macleod presents a rare glimpse at Purcell's bawdy sense of humour in a handful of the composer's witty and occasionally scurrilous 'catches' for voices - a long way from the stately drama of the stage! 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. | |
2015 | 01 | A New Queen | 20150209 | Henry Purcell's stageworks: William and Mary's accession heralds a change in direction for one of England's most brilliant and respected composers. This week Donald Macleod charts Purcell's activities during their reign. 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. 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. | |
2015 | 02 | Breaking New Ground | 20150210 | Henry Purcell's stageworks: Purcell's innovative theatrical production 'Dido and Aeneas' lays the artistic foundation for subsequent projects with the most famous writer of the day, John Dryden. 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. | |
2015 | 03 | Topping The Charts | 20150211 | Henry Purcell's stageworks: Donald Macleod finds out what kind of spectacle a Restoration audience experienced when Purcell's semi-opera King Arthur was mounted. 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. | |
2015 | 04 | The Blockbuster | 20150212 | Purcell's stageworks: 'The Fairy Queen', Purcell's most lavish production, enchants audiences but its exorbitant cost has disastrous consequences for the United Company. 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. | |
2015 | 05 LAST | The Death Of A Queen | 20150213 | Henry Purcell's stageworks: a birthday Ode and a Royal death inspire Purcell to write some of his most finest music. It's not too long though before he's back writing for the stage once again. 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. | |
2016 | 01 | Purcell's London | 20160425 | He's remembered as Britain's 'musical Shakespeare', but when it comes to Purcell's life the biographer's job is not easy. With no fewer than four Edwards, four Katherines, three Elizabeths and three Thomases in his immediate family, Purcell's family tree offers a challenge for even the most intrepid genealogist. 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 Donald Macleod on how the aftermath of the English Civil War set stiff tests for Purcell. | |
2016 | 02 | Purcell And Fashion | 20160426 | In Purcell's time if it was cool it was probably French. Today Donald Macleod finds the composer riding the wave of contemporary fashions, and wearing not just a beret but also military cravat and a sharp Italian suit. As we discover, Purcell could be all things to all men if he so desired, and he was happy to satisfy the King's French fascinations one day, and aristocratic Italian obsessions the next. We also find him paying tribute to his English predecessors, even if that meant swimming against the cultural tide. arr Jay Bernfeld: Fantasia | |
2016 | 03 | Purcell And Politics | 20160427 | Donald Macleod traces Purcell's own journeys through the political highways and byways of his day, including the infamous Rye House plot which culminates in one of the most gruesome executions in British history. 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 Donald Macleod on Purcell's journeys through the political highways and byways of his day. | |
2016 | 04 | Purcell's Players | 20160428 | For any biographer, the cast of characters which surrounded Purcell is a gift. Today Donald Macleod meets a selection of these singers, actors, instrumentalists and supporters, all of whom contributed in some way to the composer's success and reputation. Among them we meet an actress whose personal life would have landed her on the Jeremy Kyle show had it existed, and we also find how 'that stupendous bass' John Gostling found himself linked to the King's famously portly wife. 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 | |
2016 | 05 LAST | Purcell In Print | 20160429 | Today Purcell finds himself at the centre of a disastrous lottery scheme, designed to entice the great and good of his day to win the ultimate scholarly education. There are more successful business ventures too, not least his tie-up with the Playford printing dynasty, seeing recognition and circulation for the composer long after his death. And we also meet an adventurous publishing mogul whose bizarre death would bring tears to any eye. With Donald Macleod. 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 Donald Macleod on how Purcell found himself at the centre of a disastrous lottery scheme. | |
2017 | London Calling | 20170919 | 20180828 (R3) | BBC Radio 3 explores the music of Henry Purcell, the composer who changed the face of English music at the end of the seventeenth century. For most of his life, as a chorister, organist and composer, Purcell served the Royal Music during the reigns of Charles II, James II and Williams and Mary. He never left the capital but the influences of European musical styles that came into fashion during the various reigns played a huge part in Purcell's development as a composer. The newly-crowned Charles II was a Francophile and expanded the royal violin band to 24 players, inspired by Louis XIV's '24 violons du Roi', which he had heard during his exile at the French court. Later, during James II's short reign, the influence of Italian musicians and Italian musical forms encouraged by his wife, Mary of Modena, became fashionable all over London. Even Dutch musical tastes were to find their way across the channel and into Purcell's music, with William of Orange's insistence on a band of hautboys to supplement the usual trumpets when going to war. 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. | |
2017 | Orpheus Britannicus | 20170921 | 20180830 (R3) | BBC Radio 3 explores the music of Henry Purcell, the composer who changed the face of English music at the end of the seventeenth century. As a royal composer, Purcell provided music for important state occasions, for the Chapel Royal and for Westminster Abbey, but in this programme presenter Donald Macleod explores a different side to the composer. After a rehearsal or concert, Purcell and his fellow musicians would adjourn to The Two Golden Balls pub in Bow Street, sharing a bowl of brandy punch and singing some of the lewd catches and ballads the composer wrote for such occasions. As Purcell's fame grew due to his royal connections, these catches and ballads as well as sacred songs and lessons for budding harpsichordists, were published by John Playford from his shop in the porch of Temple Church. And even though he was paid by the Chapel Royal as well as his post as organist at Westminster Abbey, publishing songs was a welcome addition to his income. Macleod also explores some of the other ways Purcell made extra money on the side, from adjudicating the so-called 'organ wars' to ticket-touting for gallery seats in William and Mary's coronation. 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. | |
2017 | Sound The Trumpet | 20170918 | 20180827 (R3) | Donald Macleod explores the music of English composer Henry Purcell who served in the royal courts of Charles II, James II and the joint reign of William and Mary. On the 29th of May, 1660, the flower-strewn streets of London resounded to the cheers of vast crowds and the ringing of all the church bells, welcoming the return of Charles Stuart from exile in France as King Charles II. After the disbanding of the Royal Music during Cromwell's Protectorate, Charles quickly re-established the importance of court music during the Restoration. Henry Purcell became one of the children of the Chapel Royal sometime in the 1660s, where he was surrounded by the best musicians in the land. The king himself took a keen interest in all the court's musical activity, with composers encouraged to write for state events such as the king's birthday and New Year's Day. Purcell was commissioned to write his first ode in his early twenties, to celebrate the return of the king from his summer retreat in Windsor. In this programme, we feature some of the music Purcell wrote for the all monarchs he served including the welcome ode to Charles II, music for the coronation of James II and a birthday ode for Queen Mary. 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. | |
2017 | Take Me To Church | 20170920 | 20180829 (R3) | Presenter Donald Macleod explores the sacred music of Purcell, written in an era of violent religious tensions. 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. | |
2017 | What Power Art Thou | 20170922 | 20180831 (R3) | BBC Radio 3 explores the music of Henry Purcell, the composer who changed the face of English music at the end of the seventeenth century. With the accession of William and Mary in 1689 came swingeing cuts to the Chapel Royal. From being a showcase for the nation's best music, it became a backwater. As a result, Purcell looked elsewhere for employment - and the monarchy's loss became the public's gain, as he devoted much of his last few years writing for the London stage. Even though opera was slow in taking off in England, the theatres in London were doing a roaring trade since opening up their doors again in the early days of the Restoration. Audiences could choose between a huge variety of tragedies and comedies put on by the King's Company at the Theatre Royal or by the Duke of York Players at the Dorset Garden Theatre. The music and character songs larded through the plays were a vital part of the entertainment, and the music was always written by a committee of composers. But such was Purcell's standing and skill as a songwriter that he was given sole control of the music when he got the chance to write his first semi opera, The Prophetess, in 1690. Presenter Donald Macleod looks at some of Purcell's most spectacular semi-operas such as King Arthur and The Fairy Queen, where the songs are sung by minor characters, as well as his only opera, Dido and Aeneas 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. | |
2019 | 01 | A Brief Life | 20190916 | Donald Macleod explores the music and life of Henry Purcell. Today, a whistlestop trip through the scanty facts of the composer's biography. 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. | |
2019 | 02 | Watershed Year | 20190917 | Donald Macleod explores the music and life of Henry Purcell. Today the focus is on a single year, 1680, in which Purcell emerged as one of the greatest contrapuntists of his time. 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. | |
2019 | 03 | Music For Occasions | 20190918 | Donald Macleod explores the music and life of Henry Purcell. Today, pieces he wrote to mark specific events, from King Charles' escape from shipwreck to the passing of Queen Mary. 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. | |
2019 | 04 | Purcell's Venues | 20190919 | Donald Macleod explores the music and life of Henry Purcell. Today, an excursion round six key Purcellian venues, from pint-sized York Buildings to gargantuan Westminster Abbey. 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. | |
2019 | 05 LAST | The Intimate Purcell | 20190920 | Donald Macleod explores the music and life of Henry Purcell. Today, the relatively small but extraordinarily rich body of work he wrote for intimate, domestic settings. 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. | |
2021 | 01 | Music Born Of Turmoil | 20210621 | 20230313 (R3) | Donald Macleod explores Purcell's turbulent early years amidst a plague that killed a quarter of London's population, which was swiftly followed by the Great Fire of London. 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. |
2021 | 02 | Sacred Journey | 20210622 | 20230314 (R3) | Donald Macleod explores Purcell's sacred writing amidst the ongoing political tension surrounding Charles II's illegitimate son the Duke of Monmouth, who had designs on the throne, backed by Parliament's Whigs. 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. |
2021 | 03 | Music On Demand | 20210623 | 20230315 (R3) | Donald Macleod explores the music Purcell wrote to mark specific occasions, and reveals the impact that changes in monarch had on his work. 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. |
2021 | 04 | Backstage, Onstage | 20210624 | 20230316 (R3) | Donald Macleod takes us backstage in London's new Restoration era theatres to hear the stage music Purcell wrote set against the changing political environment in which those plays were conceived. 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. |
2021 | 05 LAST | An Incomplete Life | 20210625 | 20230317 (R3) | Donald Macleod explores what we know of Purcell's own private life alongside some of the last music he wrote. 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. |