 | Purcell, Henry - "Return Fond Muse" for Woodwind Quintet Z. 321 No. 16 Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson |
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| Compositeur : | Purcell, Henry (1659 - 1695) | ||||
| Instrumentation : | Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1693 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 07 Avr 2013 Henry Purcell's birth -- 1659 is the accepted year -- practically coincided with the Restoration of the English Monarchy by Charles II after exile in France. Lavish court music in the French manner was to be provided by an enlarged royal musical establishment, of which Purcell became a member as a boy singer in the Chapel Royal. When his voice broke, he got a position as an unpaid assistant to the King's instrument-keeper and eventually succeeded to that post, later becoming composer to the King's Band. Charles II instituted the practice of having his composers at least three odes praising the monarch each year. These were for New Year's Day, the King's birthday, and the day each autumn when London welcomed the King back to the capital after his summering at a country estate. The next Stuart king, James II, cancelled the Birthday Ode because his date of birth was October 14, too close to the time of the Welcome Ode. In 1688, Charles II was deposed for being a Catholic and replaced by the dual kingship of the English former Princess Mary and her husband, the Dutch leader William of Orange. They ruled as "William and Mary." They eliminated the Welcome Odes, but instituted a Birthday Ode for each of them. The three main composers drew lots to decide who would write for which monarch. John Blow and Nicholas Staggins drew King William, and Purcell became the official odes-maker for Queen Mary. Purcell got the better deal: Queen Mary was widely loved and a better inspiration than her grouchy Dutch spouse. The 1693 Birthday Ode (Celebrate this Festival, Z 321) is indisputably the grandest of all Purcell's compositions in this form. (Most experts would rank the 1694 ode, Come ye sons of art away, Z 323, as the finer work.) Z 321 is for five vocal soloists (two sopranos), double chorus, and orchestra of oboes, recorders, trumpets, violins, violas, and continuo. The original score shows signs of being written in haste, an impression bolstered by Purcell's re-use in it of two sections of the overture of his Hail Bright Cecilia, an ode written the year before. In contrast to some of the perfectly dreadful, obsequious texts Purcell had been obliged to set in praise of his monarchs in years past, Purcell here had a good poem, as the Kings had just appointed Nahum Tate their poet laureate and he did well on his first big job for them. The poem is rather short for this sort of work, giving Purcell a chance to expand his purely instrumental sections: there are fine airs for trumpets and two splendid ritornellos for the pair of oboes. It is full of wonderful musical ideas, capped off near the end with an air for soprano, "Kindly treat Maria's Day" which Purcell soon thereafter rushed into print -- the first of any vocal number of any of his odes offered for sale to the public -- and became in the terms of the day a genuine popular music hit. Although this piece was originally written for Opera, I arranged it for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon). Partition centrale : | Celebrate this Festival (13 partitions) | | |||
