Henry Purcell needs no introduction here, but it is well to know that this
splendid musician was among the first to incorporate Italian and French styles
into his rich, dissonant native English musical language. A pupil of Matthew
Locke, Purcell studied with John Blow and succeeded him as the organist of
Westminster Abbey. Upon his death in 1695, he was succeeded by Blow. Purcell
composed for the church, the theatre and the chamber and left a legacy of
excellence that earned him the epithet, "Orpheus Britannicus." Many
years later, Handel was praised for some music that reminded the hearer of
Purcell's—Handel's reply was: "Bah, Purcell would have written better than
this!" It is clear that, in his early years in England, Handel became
acquainted with Purcell's music on more than a casual level.
Englandhas sometimes been accused of being
under the domination of foreign musicians during the eighteenth and the early
nineteenth century—this is hardly fair, especially when one considers that the
late baroque era in music was one of increasingly international character.
London's musical life chose what it liked for its sustenance, and we are the
beneficiaries of this splendid legacy this evening. David Schrader
Classical Music | Ensemble Music
Henry Purcell
The Double Dealer Play
Recorded on 10/20/2008, uploaded on 10/06/2010
Musician's or Publisher's Notes
The Double Dealer Henry Purcell
Overture, Hornpipe, Minuett, Aire, Hornpipe, Minuett, Minuett, Aire, AireHenry Purcell needs no introduction here, but it is well to know that this splendid musician was among the first to incorporate Italian and French styles into his rich, dissonant native English musical language. A pupil of Matthew Locke, Purcell studied with John Blow and succeeded him as the organist of Westminster Abbey. Upon his death in 1695, he was succeeded by Blow. Purcell composed for the church, the theatre and the chamber and left a legacy of excellence that earned him the epithet, "Orpheus Britannicus." Many years later, Handel was praised for some music that reminded the hearer of Purcell's—Handel's reply was: "Bah, Purcell would have written better than this!" It is clear that, in his early years in England, Handel became acquainted with Purcell's music on more than a casual level. England has sometimes been accused of being under the domination of foreign musicians during the eighteenth and the early nineteenth century—this is hardly fair, especially when one considers that the late baroque era in music was one of increasingly international character. London's musical life chose what it liked for its sustenance, and we are the beneficiaries of this splendid legacy this evening. David Schrader
More music by Henry Purcell
Suite from Abdelazer
I attempt from Love’s sickness to fly
Suite from Dido and Aeneas
Vouchsafe, O Lord from Te Deum Laudamus
Music for a while
What can we poor females do?
If music be the food of love
Fairest Isle
Love thou art best
From “The Fairy Queen”: If love ‘s a sweet passion
Performances by same musician(s)
Harpsichord Concerto in d minor
Passacaglia
Orchestral Suite No. 2 in b minor
Sinfonia a cinque in g minor
Cello Sonata in B-flat Major
Trio Sonata in d minor "La follia" Op. 1 No. 12
Suite from Les Indes Galantes
Suite from Abdelazer
Aria Sopra "La Bergamesca"
Concerto Grosso in a minor
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