 | Purcell, Henry - "Let Phillis by her voice but charm the air" or Winds & Strings Z.322 No. 8 Vents & Orchestre Cordes |
VoirPDF : "Let Phillis by her voice but charm the air" (Z.322 No. 8) for Winds & Strings (13 pages - 296.46 Ko)20x⬇ VoirPDF : Violoncelle (67.01 Ko) VoirPDF : Alto (68.86 Ko) VoirPDF : Violon 2 (71.31 Ko) VoirPDF : Basson (67.57 Ko) VoirPDF : Flûte (70.47 Ko) VoirPDF : French Cor (69.06 Ko) VoirPDF : Hautbois (69.13 Ko) VoirPDF : Violon 1 (73.57 Ko) VoirPDF : Conducteur complet (165.98 Ko) MP3 : "Let Phillis by her voice but charm the air" (Z.322 No. 8) for Winds & Strings 3x⬇ 14x
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| Compositeur : | Purcell, Henry (1659 - 1695) | ||
| Instrumentation : | Vents & Orchestre Cordes | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 24 Fév 2023 Henry Purcell (1659 – 1695) was an English composer. His style of Baroque music was uniquely English, although it incorporated Italian and French elements. Generally considered among the greatest English opera composers, Purcell is often linked with John Dunstaple and William Byrd as England's most important early music composers. No later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, Gustav Holst, William Walton and Benjamin Britten in the 20th century.. Purcell was born in 1659 to Henry Purcell, master of choristers at Westminster Abbey, and his wife Elizabeth. When he was five, his father died, forcing his mother to resettle the family of six children into a more modest house and lifestyle. In about 1668, Purcell became a chorister in the Chapel Royal, studying under chorus master Henry Cooke. He also took keyboard lessons from Christopher Gibbons, son of the composer Orlando Gibbons, and it is likely that he studied with John Blow and Matthew Locke. In 1673, Purcell was appointed assistant to John Hingeston, the royal instrument keeper. On September 10, 1677, Purcell was given the Court position of composer-in-ordinary for the violins. It is believed that many of his church works date from this time. Purcell, a great keyboard virtuoso by his late teens, received a second important post in 1679, this one succeeding Blow as organist at Westminster Abbey, a position he would retain all his life. That same year saw the publication of five of the young composer's songs in John Playford's Choice Ayres and Songs to Sing to the Theorbo-lute or Bass-viol. Around the same time, he began writing anthems with string accompaniment, completing over a dozen before 1685, and welcome songs. Purcell was appointed one of three organists at the Chapel Royal in the summer of 1682, his most prestigious post yet. In 1689 Purcell was commissioned to write works by two London schools. The more famous of these commissions resulted in Dido and Aeneas, first performed at Josias Priest’s School for Young Ladies in Chelsea, but at around the same time (perhaps keeping up with his competitors) the schoolteacher Mr Maidwell commissioned the music to the Ode Celestial music did the gods inspire, which was performed at his school on 5 August. The librettist is unknown, simply credited in the score with ‘the words by one of his scholars’, but certainly appears to have had a firm grounding in Greek and Roman mythology—and produced verse that was better than some written by more distinguished names of the time. Purcell took the Symphony for the Ode directly from his 1685 coronation anthem My heart is inditing: such re-use of material was comparatively rare with Purcell and suggests that there may have been some haste in the composition. The solo bass at ‘Celestial music’ is accompanied by imitative strings who lead into a chorus which blossoms wonderfully at ‘Whom sacred music calls her Deity’. ‘Her charming strains’ is evocatively scored over a four-bar ground bass for the other-worldly combination of countertenor and two recorders and the instruments are provided with an elegant playout. ‘Thus Virgil’s Genius’ is also set on a ground and is given to a soprano soloist, followed by the duet ‘Whilst music did improve Amphion’s song’ and a string ritornello, both based on the rhythmic motif of a Scotch snap. ‘When Orpheus sang’ is a miniature masterpiece in which, once again, the theme of music inspires Purcell to produce a movement of startling originality: the countertenor weaves a florid line over a hypnotic chordal accompaniment illustrating Orpheus and his lyre subduing nature and even cruel Pluto. Closing the work is a trio (with suitably rich harmony for the word ‘ravish’d’) which is then taken up by the chorus and enlarged with virtuoso breaks for the first violin. Source: Wikipedia (https://en.wikipedia.org/wiki/Henry_Purcell). Although originally composed for Voices (SSATB) & Basso Continuo, I created this interpretation of the "Let Phillis by her voice but charm the air" from "Celestial music did the gods inspire" (Z.322 No. 8) for Winds (Flute, Oboe, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello). | |||
