 | Purcell, Henry - "Welcome to All the Pleasures" for Winds & Strings Z.339 No. 1 Vents & Orchestre Cordes |
VoirPDF : "Welcome to All the Pleasures" (Z.339 No. 1) for Winds & Strings (61 pages - 1.21 Mo)62x⬇ VoirPDF : Violoncelle (132.98 Ko) VoirPDF : Alto (139.21 Ko) VoirPDF : Violon 1 (152.76 Ko) VoirPDF : Violon 2 (139.35 Ko) VoirPDF : Basson (123.51 Ko) VoirPDF : Flûte (136.62 Ko) VoirPDF : French Cor (129.74 Ko) VoirPDF : Hautbois (137.88 Ko) VoirPDF : Conducteur complet (611.27 Ko) MP3 : "Welcome to All the Pleasures" (Z.339 No. 1) for Winds & Strings 13x⬇ 76x
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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, 15 Fév 2023 As England's greatest composer of the Baroque, Henry Purcell was dubbed the "Orpheus Britannicus" for his ability to combine pungent English counterpoint with expressive, flexible, and dramatic word settings. While he did write instrumental music, including the important viol fantasias, the vast majority of his output was in the vocal/choral realm. His only opera, Dido and Aeneas, divulged his sheer mastery in the handling of the work's vast expressive canvas, which included lively dance numbers, passionate arias and rollicking choruses. Purcell also wrote much incidental music for stage productions, including that for Dryden's King Arthur. His church music includes many anthems, devotional songs, and other sacred works, but few items for Anglican services. 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. Welcome to All the Pleasures is one of the Odes written for the celebration of St. Cecilia's Day by Henry Purcell. The libretto is by Christopher Fishburn. Purcell had been writing Odes for the Royal Family since 1680, but in 1683 the Musical Society of London commissioned him to write an ode in honor of the public celebration of the feast of St. Cecilia. The "Musical Society" was a group of amateur and professional musicians that had organized a festival for the "great patroness of music." It was the first year of their festival and Purcell was their first commissioned composer. Purcell composed the work for three solo voices, chorus, four-part strings, and continuo. Formally, he produces a concerto grosso effect when he balances the trio of voices (concertino) against the chorus and orchestra (ripieno). The opening symphony has two movements; one maestoso and the second vivace. The maestoso is full of suspensions and canonic entrances and has a full texture. The vivace is contrapuntal throughout. The words "Welcome to all the Pleasures" are set on imitative entrances. When each voice proclaims "Welcome!," an echo of invitations is produced. "Hail Great Assembly" breaks out in fugal style. The movement ends with an instrumental ritornello. Here the Deities Approve is a countertenor solo written over a three measure ground bass. The vocal line is lyrical and plastic; the countertenor soars above the rest of the ensemble. There follows a string ritornello. Throughout this ode Purcell uses instruments at least as much as the voices. While joys Celestial sets joys on dotted rhythmic figures, and places the word "Celestial" on a falling, augmented dotted figure. The effect is joyful and celestial. Then there follows an instrumental ritornello based on the dotted rhythmic theme. Purcell imitates and varies this theme within a highly contrapuntal texture. Then Lift up your Voices features a solo and chorus. Again the chorus begins with imitative entrances, but eventually comes together in homophony. Afterwards there is a solo harpsichord interlude, which can be played extemporaneously, making for a beautiful respite from the rest of the ode. Beauty, thou scene of love is a beautiful tenor solo. The solo is in two sections, the first of which is repeated. The ritornello takes over the solo line from the tenor voice as Purcell sets it in an inventive four-part contrapuntal style. In a consort of voices has a diatonic, joyful melody in E major, and adds a bright feeling to the movement. The tenor voice has a solo based on the opening theme, and soon the chorus enters canonically. One of the most striking aspects of this movement is Purcell's setting of the name "Cecilia," which he repeats many times in all the voices and registers. He sets the music to the sound of the word. He ends the piece by having the singers drop out one by one, starting with the treble voices. Finally the bass is left alone to quietly sing the final "Ce-cil-ia." Source: AllMusic (https://www.allmusic.com/composition/welcome-to-all-th e-pleasures-an-ode-for-st-cecilias-day-for-soloists-cho rus-instruments-z-339-mc0002373137). Although originally composed for Voices, Mixed Chorus, Strings and Continuo, I created this interpretation of "Welcome to All the Pleasures" (Z.339 No. 1) for Winds (Flute, Oboe, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello). | |||
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