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Purcell: The Complete Odes And Welcome Songs / Robert King


Release Date: 09/01/1993 
Label:  Hyperion   Catalog #: 44031/38   Spars Code: DDD 
Composer:  Henry Purcell
Performer:  Tessa BonnerJohn Mark AinsleyCharles DanielsMichael Chance,   ... 
Conductor:  Robert King
Orchestra/Ensemble:  King's ConsortOxford New College Choir
Number of Discs: 8 
Recorded in: Stereo 
Length: 9 Hours 5 Mins. 

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Notes and Editorial Reviews

It’s extraordinary that England’s greatest composer is only now beginning to be adequately represented on record. Robert King, the King’s Consort, a superb solo team – and Hyperion – began this collection in 1988 and all 24 of the Odes and Welcome Songs were completed on eight discs last year. The performances are the very best of period practice – scholarly and authentic in scale and style, unfailingly warm and persuasive in spirit. It is almost invidious to highlight soloists individually, but Rogers Covey-Crump’s high tenor makes striking sense of those frustrating parts which so long seemed too high for traditional tenors and too low for male altos; Gillian Fisher and Tessa Bonner are a particularly attractive pair of duetting sopranos. Read more The choir of New College, Oxford, sings the choruses in the two large-scale Odes, very grand and very English – Hail! Bright Cecilia and Come Ye Sons of Art. Elsewhere an ensemble of soloists reflects the scale of Purcell’s original forces. Where longer projects have suffered from rising performing standards – Teldec’s earlier Bach cantata recordings now show their age, for example – over this four-year span the first disc is no less fresh than the last. Nor has the enterprise been overtaken by competition, with two-thirds of these pieces unavailable elsewhere. They are an unparalleled, unique union of 17th-century Italian modernism, the archaic harmonic daring of an earlier English tradition, and a choral technique without which Handel would not have ‘invented’ the dramatic oratorio. At times all three influences follow each other without pause. In Love’s Goddess Sure was Blind (Vol. 6) the duet ‘Many, Many such Days’, brilliantly crafted over the simplest of ground basses, gives way to a Handelian chorus of extraordinary contrapuntal imagination, turning to inimitable pathos at the mere thought of mourning the future death of the Queen whose birthday the Ode celebrates. The discs are available separately. Yet every one is such a treasure-house of shamefully neglected music – over nine hours of wonderful invention from ‘the divine Purcell’ – that the whole set of this major recording achievement must be an irresistible temptation.

Performance: *****
Sound: *****

-- George Pratt, BBC Music Magazine
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Works on This Recording

1.
Arise, my Muse, Z 320 by Henry Purcell
Performer:  Tessa Bonner (Soprano), John Mark Ainsley (Tenor), Charles Daniels (Tenor),
Michael Chance (Countertenor), Gillian Fisher (Soprano), Michael George (Bass),
Charles Pott (Bass), James Bowman (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1690; England 
Language: English 
2.
Celebrate this festival, Z 321 by Henry Purcell
Performer:  Tessa Bonner (Soprano), Rogers Covey-Crump (Tenor), Jonathan Peter Kenny (Countertenor),
Gillian Fisher (Soprano), James Bowman (Countertenor), Rufus Müller (Tenor),
Crispian Steele-Perkins (Trumpet), Michael George (Bass), Charles Pott (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1693; England 
Language: English 
3.
Celestial music did the gods inspire, Z 322 by Henry Purcell
Performer:  Tessa Bonner (Soprano), Rogers Covey-Crump (Tenor), Charles Daniels (Tenor),
Michael George (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1689; England 
Language: English 
4.
Come, ye sons of art, away, Z 323 by Henry Purcell
Performer:  Michael George (Bass), Michael Chance (Countertenor), James Bowman (Countertenor),
Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort,  Oxford New College Choir
Period: Baroque 
Written: 1694; England 
Language: English 
5.
Fly, bold rebellion, Z 324 by Henry Purcell
Performer:  Rufus Müller (Tenor), Tessa Bonner (Soprano), James Bowman (Countertenor),
Gillian Fisher (Soprano), Rogers Covey-Crump (Tenor), Charles Pott (Bass),
Jonathan Peter Kenny (Countertenor), Michael George (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1683; England 
Date of Recording: 12/1989 
Length: 19 Minutes 15 Secs. 
Language: English 
6.
From hardy climes and dangerous toils of war, Z 325 by Henry Purcell
Performer:  Charles Pott (Bass), Michael George (Bass), Charles Daniels (Tenor),
Tessa Bonner (Soprano), Rogers Covey-Crump (Tenor), Gillian Fisher (Soprano),
Jonathan Peter Kenny (Countertenor), James Bowman (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1683; England 
Language: English 
7.
From those serene and rapturous joys, Z 326 by Henry Purcell
Performer:  Michael George (Bass), Andrew Tusa (Tenor), Mark Padmore (Tenor),
Nigel Short (Countertenor), James Bowman (Countertenor), Robert Evans (Bass),
Mary Seers (Soprano), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1684; England 
Language: English 
8.
Great parent, hail, Z 327 by Henry Purcell
Performer:  Michael George (Bass), John Mark Ainsley (Tenor), Rogers Covey-Crump (Tenor),
Charles Pott (Bass), Nigel Short (Countertenor), James Bowman (Countertenor),
Evelyn Tubb (Soprano), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1694; England 
Language: English 
9.
Hail, bright Cecilia, Z 328 "Ode on St Cecilia's Day" by Henry Purcell
Performer:  Tessa Bonner (Soprano), John Mark Ainsley (Tenor), Rogers Covey-Crump (Tenor),
James Bowman (Countertenor), Michael George (Bass), Gillian Fisher (Soprano),
Simon Keenlyside (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort,  Oxford New College Choir
Period: Baroque 
Written: 1692; England 
Language: English 
10.
Laudate Ceciliam, Z 329 by Henry Purcell
Performer:  Gillian Fisher (Soprano), Mary Seers (Soprano), James Bowman (Countertenor),
Andrew Tusa (Tenor), Mark Padmore (Tenor), Michael George (Bass),
Robert Evans (Bass), Nigel Short (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1683; England 
Language: English 
11.
Love's goddess sure was blind, Z 331 by Henry Purcell
Performer:  Andrew Tusa (Tenor), Mary Seers (Soprano), Michael George (Bass),
Robert Evans (Bass), Gillian Fisher (Soprano), James Bowman (Countertenor),
Mark Padmore (Tenor), Nigel Short (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1692; England 
Language: English 
12.
Now does the glorious day appear, Z 332 by Henry Purcell
Performer:  John Mark Ainsley (Tenor), Charles Daniels (Tenor), Michael George (Bass),
Tessa Bonner (Soprano), Gillian Fisher (Soprano), Charles Pott (Bass),
Michael Chance (Countertenor), James Bowman (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1689; England 
Language: English 
13.
Of old, when heroes thought it base, Z 333 by Henry Purcell
Performer:  Charles Daniels (Tenor), Rogers Covey-Crump (Tenor), Susan Hamilton (Soprano),
James Bowman (Countertenor), Nigel Short (Countertenor), Robert Evans (Bass),
Michael George (Bass), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1690; England 
Language: English 
14.
Raise, raise the voice, Z 334 by Henry Purcell
Performer:  Robert Evans (Bass), Michael George (Bass), Andrew Tusa (Tenor),
Mark Padmore (Tenor), Nigel Short (Countertenor), Mary Seers (Soprano),
James Bowman (Countertenor), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: circa 1685; England 
Language: English 
15.
Sound the trumpet, Z 335 by Henry Purcell
Performer:  Michael George (Bass), Rufus Müller (Tenor), Rogers Covey-Crump (Tenor),
Tessa Bonner (Soprano), Charles Pott (Bass), Jonathan Peter Kenny (Countertenor),
James Bowman (Countertenor), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1687; England 
Language: English 
16.
Swifter, Isis, swifter flow, Z 336 by Henry Purcell
Performer:  Michael George (Bass), Charles Daniels (Tenor), Rogers Covey-Crump (Tenor),
Robert Evans (Bass), Nigel Short (Countertenor), James Bowman (Countertenor),
Susan Hamilton (Soprano), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1681; England 
Language: English 
17.
The summer's absence unconcerned we bear, Z 337 by Henry Purcell
Performer:  Evelyn Tubb (Soprano), Michael George (Bass), John Mark Ainsley (Tenor),
Rogers Covey-Crump (Tenor), Charles Pott (Bass), Nigel Short (Countertenor),
James Bowman (Countertenor), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1682; England 
Language: English 
18.
Welcome, welcome, glorious morn, Z 338 by Henry Purcell
Performer:  Charles Pott (Bass), Nigel Short (Countertenor), Michael George (Bass),
John Mark Ainsley (Tenor), Rogers Covey-Crump (Tenor), James Bowman (Countertenor),
Evelyn Tubb (Soprano), Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1691; England 
Language: English 
19.
Welcome to all the pleasures, Z 339 "Ode for St Cecilia's Day" by Henry Purcell
Performer:  John Mark Ainsley (Tenor), Michael Chance (Countertenor), James Bowman (Countertenor),
Tessa Bonner (Soprano), Gillian Fisher (Soprano), Charles Pott (Bass),
Charles Daniels (Tenor), Michael George (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1683; England 
Language: English 
20.
Welcome, viceregent of the mighty king, Z 340 by Henry Purcell
Performer:  James Bowman (Countertenor), Gillian Fisher (Soprano), Charles Pott (Bass),
Michael Chance (Countertenor), John Mark Ainsley (Tenor), Charles Daniels (Tenor),
Tessa Bonner (Soprano), Michael George (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1680; England 
Language: English 
21.
What, what shall be done in behalf of the man?, Z 341 by Henry Purcell
Performer:  Gillian Fisher (Soprano), Robert Evans (Bass), Michael George (Bass),
Charles Daniels (Tenor), Rogers Covey-Crump (Tenor), Nigel Short (Countertenor),
James Bowman (Countertenor), Susan Hamilton (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1682; England 
Language: English 
22.
Who can from joy refrain?, Z 342 by Henry Purcell
Performer:  Simon Keenlyside (Bass), Michael George (Bass), John Mark Ainsley (Tenor),
Rogers Covey-Crump (Tenor), James Bowman (Countertenor), Tessa Bonner (Soprano),
Gillian Fisher (Soprano)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort,  Oxford New College Choir
Period: Baroque 
Written: 1695; England 
Language: English 
23.
Why, why are all the Muses mute?, Z 343 by Henry Purcell
Performer:  Gillian Fisher (Soprano), Tessa Bonner (Soprano), Robert Evans (Bass),
Mark Padmore (Tenor), Michael George (Bass), James Bowman (Countertenor),
John Mark Ainsley (Tenor), Michael Chance (Countertenor)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1685; England 
Language: English 
24.
Ye tuneful Muses, Z 344 by Henry Purcell
Performer:  Charles Pott (Bass), Charles Daniels (Tenor), Rogers Covey-Crump (Tenor),
Tessa Bonner (Soprano), Gillian Fisher (Soprano), Jonathan Peter Kenny (Countertenor),
James Bowman (Countertenor), Michael George (Bass)
Conductor:  Robert King
Orchestra/Ensemble:  King's Consort
Period: Baroque 
Written: 1686; England 
Language: English 

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