musica Dei donum
Henry PURCELL (1659 - 1695): "A Purcell Collection"
Voces8; Les Inventions
rec: August 12 - 16, 2013, Herment (F), Eglise Notre-Dame
Signum Classics - SIGCD375 (© 2014) (70'18")
Liner-notes: E; lyrics - no translations
Cover & track-list
Thomas MORLEY (1557/1602):
Second Dirge Anthem;
Come, ye sons of art, away (Z 323) (Bid the virtuesb; Strike the violc);
Dido and Aeneas (Z 626) (To the hills and the vales);
Hail! Bright Cecilia (Z 328) (Hail! Bright Cecilia);
King Arthur (Z 628) ('Cold Song' (What power art thou)e; Fairest islea; How happy the loverade);
My heart is inditing of a good matter (Z 30);
Now does the glorious day appear (Z 332) (By beauteous softness mix'd with majesty)c;
O God, thou art my God (Z 35);
Praise the Lord, O Jerusalem (Z 46);
The Prophetess, or the History of Dioclesian (Z 627) (Behold, o mightiest of Gods);
The Tempest (Z 631) (Full fathom five);
Thou knowest, Lord, the secrets of our hearts (Z 58)
Andrea Haines (soloa), Emily Dickens (solob), soprano;
Christopher Wardle, Barnaby Smith (soloc), alto;
Oliver Vincent, Samuel Dressel (solod), tenor;
Paul Smith, Dingle Yandell (soloe), bass
Gwénaël Bihan, Armelle Brouard-Plantier, recorder;
Guillaume Cuiller, Laura Duthuillé, oboe;
Sunske Sato, Varoujan Doneyan, Louise Ayrton, violin;
Kayo Saito, viola;
Felix Knecht, cello;
Thomas de Pierrefeu, violone;
Simon Linné, theorbo;
Patrick Ayrton, harpsichord, organ
Henry Purcell is not exactly what musicologists sometimes call a 'minor master'. On the contrary, his music is almost unanimously admired and frequently performed and recorded. In his liner-notes Patrick Ayrton rightly compares him with Johann Sebastian Bach, and one could add some other composers of the same stature, such as Monteverdi or Charpentier. A critic once said that he had never heard a bad note from Purcell, and it is not difficult to agree. That makes a disc like the present one a little superfluous. The rear inlay says that it is "an invitation to stroll through the world of one of England's greatest composers". Is that really necessary, considering Purcell's sizeble discography?
In a concept like this it is inevitable that several excerpts from larger pieces are included. I have to admit that I don't like that. The isolation of single pieces from a larger work is often unsatisfactory. This disc includes a particularly telling example: the Cold Song from King Arthur. It is quite effective if performed as part of the whole, but without its context it makes much less sense. Moreover, if performances are good - as these are - one is disappointed not to hear the whole piece.
One of the highlights is My heart is inditing, one of his best-known compositions, and a masterpiece. The opening sinfonia bears witness to the French influence: the slow first section with its dotted rhythms reminds us of the overtures from Lully's operas, when the king entered the theatre. This connection makes much sense as this anthem was written for the coronation of James II in 1685. Here we hear the instrumental ensemble Les Invention in its full glory. Voces8 gives a very fine performance of the vocal parts. The voices blend beautifully, and thanks to the minimal vibrato the harmonic peculiarities come off perfectly. It also results in a high degree of transparency. The solo episodes are nicely sung by members of the ensemble.
Some of them show their qualities in the solo pieces: Barnaby Smith is especially impressive in Strike the viol, although the tempo of this song is probably a little too fast. Andrea Haines makes the best of Fairest Isle, one of Purcell's most famous airs, and often sung as an encore. Over the years I have heard many disappointing or even horrible performances, marred by wide vibrato. Ms Haines' performance has a kind of naïveté which is spot-on. The ritornello between the first and the second stanza is another highlight, especially thanks to the beautiful ornamentation of first violinist Shunske Sato. Dingle Yandell does well in the Cold Song, but I wonder whether the interpretation is a bit too emphatic. Maybe a more restrained and subtle approach would make a stronger impression. However, as I indicated above, it is not easy to perform such a piece out of its context.
The funeral anthem Thou knowest, Lord is one of the most beautiful and moving pieces ever written. It is interesting that it is performed here as the last part of the Burial Music by Thomas Morley. Purcell's anthem replaces the missing last section. It remains pretty close to the style of Morley, but Purcell adds his own mark in his treatment of harmony. Voces8 shows that it is well suited to earlier music as Morley's setting gets a very good performance. Purcell's motet makes a lasting impression in this performance.
Even if you have most of Purcell's music on disc in your collection you should not miss this 'sampler'. It includes some of the finest performances I have heard in recent years. I strongly hope that these two ensembles will further delve into Purcell's oeuvre and make us happy with more recordings.
Johan van Veen (© 2014)