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| A contemporary painting of Purcell |
What’s that got to do with Royal Weddings and Cup Finals you might well ask? Well, you see, Purcell wrote music for the big occasion and especially big national occasions – Royal Weddings, Coronations, celebrations of great victories – you name it, Purcell wrote music for it. There’s absolutely no doubt if Purcell were alive today then Harry and Meghan would have asked him to write the music for their wedding day and the Football Association would have chased him to compose something suitable to be played as Manchester United and Chelsea walked out onto the Wembley pitch for their big game. Purcell wrote music to reflect the nation’s joy, hopes, fears, aspirations and sorrows as the great national events of England unfolded; he was the man for the big occasion and in being so he wrote a some of the most glorious, evocative, achingly beautiful, seductive and long lasting of all English music. In short, the music of Henry Purcell was written as a tribute to England, its great names, its common people, its proud history, its traditions, its great events and most of all as an acknowledgement of what it is to be English.
Purcell could not only write a good tune and rise to the occasion; his music – both in his day and still today – acknowledges and celebrates the feelings and aspirations of England as a people. To hear the music of Purcell, even today three centuries after his death, is to stand tall and puff out one's chest with pride - not because of great battles or victories won - but simply because what he composed spoke of the very best in mankind and England. And he did it with what one musicologist called “an unrivalled and exquisite sensitivity to the English language”. English poet Gerard Manley Hopkins as an introduction to his sonnet "Henry Purcell" wrote: "The poet wishes well to the divine genius of Purcell and praises him that, whereas other musicians have given utterance to the moods of man's mind, he has, beyond that, uttered in notes the very make and species of man as created both in English men and in all men generally”. Many would agree with Hopkins. Purcell’s opera, theatre, sacred and state music put him amongst the greats of western music in general and English music in particular. But there is more. His music is an integral and important part of the rich fabric of English history and, as such, is closely bound up with the nation’s sense of “Englishness”. Just as the music of Tchaikovsky or Rachmaninov is part of the national psyche of Russia, or Debussy and Fauré unapologetically “French” or Gershwin and Copland so clearly American so, too, with Purcell; his works are bound up with the feelings, the aspirations, the culture and, indeed, the history of England. To hear the music of Purcell is to hear England and all its glorious history, tradition, sorrows and dreams.
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| St Peter's Ruddington |
So, why not come along to St Peter’s on Saturday evening (7.30 pm start) to enjoy "An Evening in the Company of Mr Henry Purcell".
Purcell was born in 1659 at a propitious time. The restoration of the monarchy with the return of Charles II to the throne heralded a period in which music and arts flourished again after the austere period of the Commonwealth under Oliver Cromwell. But, if the age in which he lived was in Purcell’s favour so, too, were his personal circumstances. Purcell’s father and uncle were both Gentlemen of the Chapel Royal and Purcell, with his father’s help, joined as a boy chorister in 1667. In 1673 Purcell’s voice broke and he received a bursary to continue his musical education with John Blow and in 1679 succeeded Blow as organist of Westminster Abbey. So impressed had Blow been with the prodigious talents of his nineteen year old pupil, he resigned his post in favour of Purcell.
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| All you need to know! Come and join us! |
From that point Purcell was hugely prolific writing with equal skill and imagination for the church, the court, the theatre and for his royal patrons. He produced over a hundred anthems, services and devotional songs, twenty four odes and Welcome songs, an opera and four semi operas, incidental music to over forty plays, over a hundred secular songs and more than forty pieces of brilliantly inventive instrumental music. This output is even more staggering when one realises that he was dead by his thirty seventh year. It is not difficult to draw parallels with Mozart!
For the whole of his musical life Purcell walked with kings. He served at the colourful court of Charles II and looked on as the less likeable King James dug his own political grave. He was present as the ‘Glorious Revolution’ heralded the arrival of William and Mary. Throughout his life he composed for these monarchs and for state occasions, and at the same time, composed for the rapidly growing, but still infant, London theatre. He was London’s busiest and most sought after composer, adored and revered by both his contemporaries and by the ordinary people.
The variety, originality and craftsmanship of Purcell’s work is astonishing. He was the consummate setter of words. Under Purcell, it was said “.....even the most hackneyed piece of English doggerel springs to life. His settings of often mediocre poetry far transcend in emotional depth the words given to him.” Purcell’s music is breath taking – rich, daring and innovative. His complete mastery of Baroque counterpoint, as well as his absorption of Italian influences ensured that he wrote fluently and with huge originality in all instrumental and vocal genres.
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Michael Overbury accompanies a rehearsal
& composes along the way!
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Little is known about Purcell’s private life. He married at the age of twenty and his wife Frances bore him seven children. Unfortunately, but not uncommon in his day, only two survived. We know that he worked closely with other writers of the day, collaborating on several occasions, most notably with the great poet John Dryden. This led to two of his greatest successes – The Fairy Queen and King Arthur – both works with a strong sense of nationhood and of England and the English implicit in them: King Arthur retelling of the battle for supremacy between the Britons and the Saxons and The Fairy Queen a reworking of Shakespeare’s A Midsummer Night’s Dream.
Purcell’s last royal duty was to provide music for Queen Mary’s funeral in 1695. The music that he composed for this event is amongst the most stirring, solemn and moving in all English music. He did not realise that in a few months he too would pass away and that the music that he had composed for the death of his Queen would be played again at his own funeral. Following his death King William honoured Purcell by agreeing that he be buried with no expense in Westminster Abbey. So great was the reverence in which he was held that thousands lined the London streets as his cortege made its way, accompanied by the sound of his own music, to the Abbey where he is buried adjacent to the organ. Purcell was universally mourned as "a very great master of music." His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that Blessed Place where only His harmony can be exceeded.”
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| Musical Director Paul Hayward and the Ruddington Chamber Ensemble |
So, what will you hear if you come along to St. Peter's next Saturday? You're in for a treat for sure . Read below for a flavour of what's in store.
In recognition of Saturday’s Royal Wedding the concert opens with the well known and popular Trumpet Tune in D Major. Often used for weddings the work has long been the subject of debate – was it written by Purcell or by Jeremiah Clarke? The confusion is easy to understand. The two were closely linked: Purcell and Clarke were the two premier English composers of the time, both pupils of John Blow, both choristers at the Chapel Royal, both organists (Purcell at Westminster Abbey and Clarke at Winchester Cathedral and St Paul’s), both composed for the monarchy and the state, and to complicate things even more they often collaborated! It is from such a collaboration - the semi opera The Island Princess - that the Trumpet Tune originated. Semi operas were popular in the late 17th century, combining spoken words with masque-like episodes using singing, dancing characters and machines for spectacular effect. Trumpet tunes like this are often called “voluntaries”. In music a voluntary is a piece of music, usually for an organ, played as part of a church service. The title "voluntary" was often used by English composers during the Baroque period for organ music that was free in style, and was meant to sound improvised. The word “voluntary” means "proceeding from the will or from one's own choice or consent" – and the term grew out of the practice of church organists improvising before, after and during a service.
Composed in 1685 the anthem I was Glad was written for the lavish Coronation of James II on April 23rd 1685. It is a setting of Psalm 122. The opening section accompanied James’ procession up the nave of Westminster Abbey; then a break as he entered the quire, filled with the acclamations of Vivat! from the boys of Westminster School; and then the anthem resumed with a meditative section on the words "O pray for the peace of Jerusalem" as James took his seat on the throne. The anthem then concludes with the Gloria. Purcell’s work was sung at the Coronation by the choirs of Westminster and the Chapel Royal as they entered the Abbey ahead of the King and Queen. With its many changes of metre, it cannot have been the easiest of pieces to sing in procession and bears witness not only to the talents of the choristers but to Purcell’s consummate musicality and innovation – and his undoubted sense of occasion.
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| Queen Mary |
The music for the funeral of Queen Mary in 1695 is unquestionably amongst the greatest, most beautiful and solemn funeral music ever written anywhere and by anyone. From the famous and emotionally overpowering opening muffled drum beats to the achingly beautiful choral sections Purcell’s affection for the young Queen is obvious. The music had its origins in 1677 and was originally written for the funeral of Purcell's teacher Matthew Locke. Queen Mary II's funeral music, which grew from that composed for Locke, had added a March and a Canzona, both employing brass and drums. The texts reflect upon the transitory nature of earthly life, fear of divine judgment, and hope for divine mercy, and are taken from the Book of Common Prayer of 1660 and from Job 14: 1-2.
The simple, stately, perfectly proportioned March has been popular with musicians across the years and across the world when sombre state occasions require it. The muffled drum beat sets the scene and it is easy to imagine the sombre state funeral procession threading its way through the silent crowds paying homage to the dead Queen on the seventeenth century London streets. Thou know'st, Lord, one of the Funeral Sentences, is one of the burial texts from the Book of Common Prayer and is hushed and resigned and a fitting send-off to the departing spirit. The simplicity and brevity of the anthem expresses Purcell’s restrained grief perfectly and one musicologist has said of the Anthem. “...the seriousness and darkness of mood can seem depressing but the work creates an almost palpable sense of occasion and sadness...... the music is of such high order that the listener is exalted by having experienced it....” Amen to that.
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Part of Purcell's handwritten score
for the funeral music
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The Queen had died of smallpox in late December 1694 at the age of 32. She had been Queen for only five years. William, the King, was stern, with little real interest in music, but Mary was outgoing and loved music and the theatre. As William was frequently away on military campaigns or visiting his own country, the Netherlands, it fell to Mary to rule England in his absence so Purcell had a close working relationship with her. He had served four monarchs but without doubt had the closest relationship with Mary and held her in the highest esteem. The quiet emotion of the funeral pieces reflects his deep personal sorrow at her passing and his acute sensitivity to the importance, the gravity, and the spiritual, political and national symbolism of the occasion. Mary lay in state until March 5th 1695 so Purcell had sufficient time to compose his music. Both the Court Mourning and the lying in state were sumptuous occasions costing over £100,000. In London black cloths were hung from the houses in even the poorest districts and black handrails were set up throughout the thickly lined and silent streets. During the procession the March was played and the Sentences sung by a following choir. The Sentences were sung again as part of the funeral service. These eloquent compositions for Mary’s funeral are some of Purcell’s most powerful masterpieces. One of the funeral choristers, Thomas Tudway, later recalled the extraordinary effect of Purcell’s music on that day; “I appeal to all that were present .... whither they ever heard anything so rapturously fine, & solemn, & so heavenly .... which drew tears from all; & yet a plain, Naturall Composition; which shows the pow’r of music, when ‘tis rightly fitted, & Adapted to devotional purposes.” Little did Purcell, Tudway and the watching thousands know that just eight months later the streets and the populace would again witness a procession and hear the same music as Purcell’s own body travelled to Westminster Abbey.
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| A contemporary print of the funeral |
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| Paul Hayward leads another successful concert |
The restoration of the monarchy in 1660 led to a brilliant revival of the arts in England. During his exile, Charles II had acquired a taste for the elaborate music of the French court and quickly re-established the Chapel Royal where Purcell became a chorister in 1667. During the years until the King’s death in 1685, Purcell revived and expanded the uniquely Anglican verse anthems developed by Gibbons, Tomkins and others earlier in the century. His most famous is Rejoice in the Lord Alway, often called the Bell Anthem because of its repetitive descending bass line and brilliant high strings, The text of Rejoice in the Lord Alway is a reworking of the words in Philippians 4:4. With these works and church anthems for unaccompanied choir, Purcell demonstrated an unequalled skill in the setting of English texts to powerfully expressive music. In the glorious opening to Rejoice in the Lord Alway the pealing of bells is everywhere leading to a jaunty introduction of the text by the singers. What follows is a work that ranges from the lyrical to the wistful giving the anthem a haunting, bittersweet – yet joyous - quality set against a rich and elaborate background. This is Purcell at his finest and its many qualities have made it one of Purcell’s most enduringly popular anthems; a true masterpiece.
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| Some of the ladies of the choir |
Abdelazer is a 1676 play by the English dramatist Aphra Behn, and an adaptation of the 1600 tragedy Lust's Dominion. Purcell wrote music for the play for a revival in the summer of 1695. The suite has ten movements one of which, the Rondeau, has gained a lasting place in the musical life of England and the wider world since, in 1946, Benjamin Britten used it in his set of variations The Young Person’s Guide to the Orchestra. Since then generations of schoolchildren have listened to and enjoyed the work as they learned of the instruments of the orchestra - without, perhaps, knowing its musical and historical roots!
Although opera made slow progress in seventeenth century England, music played an important part in the theatre. Plays invariably included not only songs, but short orchestral pieces to call the audience’s attention to the start of the entertainment, to mark the change of scene between acts, and the end of the play. The ten movements of Abdelazer show the variety expected of incidental music at the time. In the London theatres productions (and audience expectations) became more vibrant and secular and Abdelazer reflects this. For the first time women were allowed to act on the stage and there were several prominent women playwrights who contributed to the frequently bawdy theatrical world of Restoration London. One such was Aphra Behn the writer of Abdelazer. Behn was frequently accused of lewdness but despite this her works were very popular.
And finally, to what is regarded by many as one of - if not the the very greatest English musical works, the three act opera Dido and Aeneas. It was written by Purcell with a libretto by Nahum Tate probably in July 1688 and first performed at Josias Priest's School For Young Ladies in London at the end of 1689. The story is based on Virgil's Aeneid and recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he leaves her. It is an understatement to say that it is a defining and monumental work for both Purcell and for all English music. Dido and Aeneas is not only Purcell's foremost theatrical work, and his only true opera, but its nobility of style, and the grandeur and pathos with which it is inspired entitles the work to be regarded as the first musical work worthy of the name “opera” to be produced in England. It compares favourably with any other great musical work from any time or place
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| Some of the gentlemen of the choir rehearse |
Approximately one hour in duration, Dido and Aeneas has been described as “an example of perfection in miniature”. Purcell conveys the story through a variety of musical means including aria, recitative, chorus and dance; his text setting is ingenious, matching the peculiarities of the English language to the rhythms and needs of his glorious music and his development of character through musical means is unmatched anywhere in the Baroque era.
Although tightly constructed – all the action takes place in the space of twenty-four hours – Nahum Tate’s libretto can be confusing for audiences unfamiliar with classical mythology (the story would have been well known to upper class Restoration audiences). The libretto tells of Dido, the Queen of Carthage, and her ill-fated love of the Trojan Prince Aeneas, destined to leave her to found the city of Rome. After storms, quarrels between the Gods, winged messengers and lovers’ trysts and quarrels Aeneas leaves on his ill fated journey and Dido finds herself distraught at her loss. Inconsolable she proclaims that she must die now that Aeneas has gone and the Chorus ask Cupids to scatter rose petals on her tomb.
It is over 300 years since the premiere of Purcell’s great work and despite its ancient classical roots and the rather unbelievable operatic nature of its plot it still, even in today’s cynical world, speaks poignantly and eloquently of great love and great loss. Virgil’s tragic tale is retold in music of raw emotional power interlaced with exquisite songs and graceful dances. Dido and Aeneas, with its rich mixture of comic and tragic elements so characteristic of 17th century English theatre, perfectly illustrates Purcell's extraordinary dramatic sense and commanding ability to use both the English language and music to exquisite and stunning effect. When, in the final moments of the opera, Dido sings Dido’s Lament, an aria regarded as one of the finest in all opera – "When I am laid in earth, my wrongs create no trouble in thy breast "- she can still, no matter how many times one has heard this piece, send shivers down any spine and reduce an audience to tears – it is Purcell and English music at its very greatest
It is perhaps fitting that this aria in this opera, one of the pinnacles of both Purcell’s and all opera’s achievement, has become such an important work and one of the great anthems for the nation that Purcell so loved. At great national events such as Remembrance Day, or to mark the passing of some great leader or national figure, Dido’s Lament will inevitably feature; like other great works by Purcell it has become part of the cultural fabric and national psyche. It is a work, like many by Purcell, that is important not just because of its wonderful music or words but also
because it is a work to brings people and nations together in times of need, and even now, three centuries after the composer’s death, it still defines part of what it is to be English. Purcell, the great patriot, the man with the great musical gift and the ability to use in his works the English language so majestically, exquisitely and elegantly would, no doubt, be both humbled and quietly pleased about that.
So, Royal Wedding? Cup Final? Or maybe St Peter’s Church Ruddington. I know where I'll be! Don't miss it!
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| Dido & Aeneas say farewell |
It is perhaps fitting that this aria in this opera, one of the pinnacles of both Purcell’s and all opera’s achievement, has become such an important work and one of the great anthems for the nation that Purcell so loved. At great national events such as Remembrance Day, or to mark the passing of some great leader or national figure, Dido’s Lament will inevitably feature; like other great works by Purcell it has become part of the cultural fabric and national psyche. It is a work, like many by Purcell, that is important not just because of its wonderful music or words but also
because it is a work to brings people and nations together in times of need, and even now, three centuries after the composer’s death, it still defines part of what it is to be English. Purcell, the great patriot, the man with the great musical gift and the ability to use in his works the English language so majestically, exquisitely and elegantly would, no doubt, be both humbled and quietly pleased about that.
So, Royal Wedding? Cup Final? Or maybe St Peter’s Church Ruddington. I know where I'll be! Don't miss it!
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