~ r g a & t ede Westminster et de la Chapelle myale, Henry Putcell n'a

destine que tr& peu de musique son insrmmeat.Au total moins dtne
dizaine de psces, toutes apparentees au Voluntary. Une virtuosi@
inhabitueuepour lU@que s'en d w g e parfois (ex:vo~untmyen rd minew)
et l a d e imagina les excepthnek moyens techniques d'un musicien
repu@pour ses dons d'improvisateur. I
Henry Purcell(1659 - 1695)
Full Anthems and Organ Music
Music on the Death of Queen Mary
We find it easy enough to accept that a Tchaikovsky or Mahler
symphony is to some extent autobiographical, but with earlier music
we assume that the composer's inner voice is likely to have been
forestalled by the functional rMe thatmusic inhabited in earlier centuries.
In Henry Purcell's day, the job of a composer in the busy courts and
churches of the Baroque was to provide a well-crafted commodity
designed to compliment a patron, entertain him, or adorn a ceremony
or liturgy with an appropriate musical setting -the day-to-day grind of
fulfilling regular and significant obligations was not often conducive to
self-motivated composition. Perhaps the sign of greatness in a Baroque
composer is that in spite of the strictures of patronage the music
communicates integrity, value, and individualism above and beyond
the call of duty.
Furcell is one of very few composers in the Baroque whose musical
language, at its richest, tempts us to speculate on the man's sense of
beinr.
c,
Perhaus we feel less inclined to do.this with Bach. sav, ,. since we
k~lowmore aimllt his life. Mt~rewas written about Uach in hi- lifetime
and in ,ubsequrnt yeart tl1n11 II:IS 6:vc,r been wr~ttt!nrlbuul I'urcell. Bach
wnrkpd with:n a fervent rrlir~<njs ;an11 intt4lcct!ldl illilit>ua genrr.1lli,ll
later than Purcell, where such-genres as the,concerto, cantata, &d sonata
were well established, and tonality fully formulated. We revere Bach's
works as much as anythmg for their sense of stylistic finality, for their
essentially solid state and outward-bound character (however inwardly
motivated) which is why it hardly occurs to us to search for an
autobiographical vein in his music. But Purcell is different: we lalow
Henry Purcell(1659 - 1695)
Full Anthems and Organ Music
Music on the Death of Queen Mary
We find it easy enough to accept that a Tchaikovsky or Mahler
symphony is to some extent autobiographical, but with earlier music
we assume that the composer's inner voice is likely to have been
forestalled by the functional rMe thatmusic inhabited in earlier centuries.
In Henry Purcell's day, the job of a composer in the busy courts and
churches of the Baroque was to provide a well-crafted commodity
designed to compliment a patron, entertain him, or adorn a ceremony
or liturgy with an appropriate musical setting -the day-to-day grind of
fulfilling regular and significant obligations was not often conducive to
self-motivated composition. Perhaps the sign of greatness in a Baroque
composer is that in spite of the strictures of patronage the music
communicates integrity, value, and individualism above and beyond
the call of duty.
Furcell is one of very few composers in the Baroque whose musical
language, at its richest, tempts us to speculate on the man's sense of
beinr.
c,
Perhaus we feel less inclined to do.this with Bach. sav, ,. since we
k~lowmore aimllt his life. Mt~rewas written about Uach in hi- lifetime
and in ,ubsequrnt yeart tl1n11 II:IS 6:vc,r been wr~ttt!nrlbuul I'urcell. Bach
wnrkpd with:n a fervent rrlir~<njs ;an11 intt4lcct!ldl illilit>ua genrr.1lli,ll
later than Purcell, where such-genres as the,concerto, cantata, &d sonata
were well established, and tonality fully formulated. We revere Bach's
works as much as anythmg for their sense of stylistic finality, for their
essentially solid state and outward-bound character (however inwardly
motivated) which is why it hardly occurs to us to search for an
autobiographical vein in his music. But Purcell is different: we lalow
with full choir. Arguably it is the full anthems that reveal most clearly
the simple and personal utterances for which Purcell is justly famed,
t h o.u. ~ h ~ n s u r..p.r Purcell ~ s 1 demonstrates a broad ran& . . oi stvlistic
avarenesj tcht In ]rlt~iu,qu.<rn t~tt~llr strnl ltulfr.~.;e<l, one of onlv lwu
sacred Laliti mcltets by rile ia,nlpc,scr. I't!rct,ll expressc, in a ~ I I I I ~ ~ ) ~ ! T I I I ~
bul unrn!~llkv.~blv p,>lc,rtean act.ana>htn(:.Itor 11 t l ~ ~ l . ~ m . t tand
i ~ , nnlr.1
for mercy in the mist current Italianate iziom; given that this work &as
too 'catholick' in style for the Chapel Royal, one woliders what personal
event led to such an intense work? And can the deeply-felt Lord, how
long wilt thou be angry? and Hear my prayer be simply a detached but
professional response to the texts?
Queen lary'h cleatli w.15 n devastating blow, which dceply .~ffv,.!t~d
Ih,, nnlnlry. \I.yy I,nd been :s in~rcl~-h~vrcl im,n.lrtl! :at111t l i ~publi:
~ l ~ ~ ~ n ; ~.( ~f tt ~~~ lt v!I rsw,l~~ch
l reflected ~ i c v ~ ~ l il't~r.vll's
c~n n~<,\m~,rizing
ch8,raI musi: war prtfa:e<l I,? a pnlccssion ruI111l1 olir can i m a g ~ ~ ~e
w.>>
pn,foundly mtning. No exprllw w . 1 ~vp.w,al. Sir ('hristc,phc~r \Vrwl
l!:lcl ~ ~ ~ rI1'81 ~ tlh? ~ ~ tor Wvstmi~lstcr
~ rotl!t! c ~ d was lin',d wit11 l > l , r k r,>iIi!l~%
Three hundrrd sombre old women led the entourage dressed in blGk
capes with boys carrying their trains. How perfectly the occasion leant
itself to Purcell's evocative and bitter-sweet music. The text setling is so
atmospheric as to leave the listener motio~ilessin the stark loneliness
and vuhierability of the human condition. The resigned melodic sighs
and other-worldly harmony must have been a draining experience on
that cold March morning of 1695. So much of Purcell's music touches
the melancholic state beyond mere 'affect'. Engrained in his soul is this
elusiveness that keeps us yearning for the meaning (perhaps even
autobiographical) behind this wonderful music. No-one could have
with full choir. Arguably it is the full anthems that reveal most clearly
the simple and personal utterances for which Purcell is justly famed,
t h o.u. ~ h ~ n s u r..p.r Purcell ~ s 1 demonstrates a broad ran& . . oi stvlistic
avarenesj tcht In ]rlt~iu,qu.<rn t~tt~llr strnl ltulfr.~.;e<l, one of onlv lwu
sacred Laliti mcltets by rile ia,nlpc,scr. I't!rct,ll expressc, in a ~ I I I I ~ ~ ) ~ ! T I I I ~
bul unrn!~llkv.~blv p,>lc,rtean act.ana>htn(:.Itor 11 t l ~ ~ l . ~ m . t tand
i ~ , nnlr.1
for mercy in the mist current Italianate iziom; given that this work &as
too 'catholick' in style for the Chapel Royal, one woliders what personal
event led to such an intense work? And can the deeply-felt Lord, how
long wilt thou be angry? and Hear my prayer be simply a detached but
professional response to the texts?
Queen lary'h cleatli w.15 n devastating blow, which dceply .~ffv,.!t~d
Ih,, nnlnlry. \I.yy I,nd been :s in~rcl~-h~vrcl im,n.lrtl! :at111t l i ~publi:
~ l ~ ~ ~ n ; ~.( ~f tt ~~~ lt v!I rsw,l~~ch
l reflected ~ i c v ~ ~ l il't~r.vll's
c~n n~<,\m~,rizing
ch8,raI musi: war prtfa:e<l I,? a pnlccssion ruI111l1 olir can i m a g ~ ~ ~e
w.>>
pn,foundly mtning. No exprllw w . 1 ~vp.w,al. Sir ('hristc,phc~r \Vrwl
l!:lcl ~ ~ ~ rI1'81 ~ tlh? ~ ~ tor Wvstmi~lstcr
~ rotl!t! c ~ d was lin',d wit11 l > l , r k r,>iIi!l~%
Three hundrrd sombre old women led the entourage dressed in blGk
capes with boys carrying their trains. How perfectly the occasion leant
itself to Purcell's evocative and bitter-sweet music. The text setling is so
atmospheric as to leave the listener motio~ilessin the stark loneliness
and vuhierability of the human condition. The resigned melodic sighs
and other-worldly harmony must have been a draining experience on
that cold March morning of 1695. So much of Purcell's music touches
the melancholic state beyond mere 'affect'. Engrained in his soul is this
elusiveness that keeps us yearning for the meaning (perhaps even
autobiographical) behind this wonderful music. No-one could have
Remember not, Lord, oar offences, nor the offencesof our forefathers; neither
take thou vengeance of our sins, good Lord. Spare thy people whom thou
hast redeemed with thy most precious blood, and be not angry with us for
ever. Spare us, good Lord.
I will sing unto the Lord as long a s I live; I will praise my Gad while I have
my being, and so shall my words please him. My joy shall be in the Lord; as
for sinners, they shall be consumed out of the earth and the ungodly shall
come to an end. But praise ye the Lord, 0my soul, praise the Lard.
0 God, thou art my God; early will I seek thee. My soul tbisteth for thee,
my flesh also longeth after thee in a barren and dry land where no water is.
Thus have I looked for thee in holiness that I might behold thy power and
glary. For thy loving kindness is better than life itself; my lips shall praise
thee. As long as I live will I magnify thee on this manner and lift up my
hands in thy name, because thou hast been my helper. Therefore under the
shadow of thy wings will I rejoice, Hallelujah.
0 God, the king of glory, who hast exalted thine only son Jesus Christ our
Lord with great triumph into heaven. We beseech thee, leave us not
comfortless, but send to us thine Holy Ghost to comfort us, and exalt us
unto the same place.where our saviour Christ is gone before us. Amen.
Lord, how l?ng wilt thou be angry? Shall thy jealousy bum like fire far ever?
0 remember not our old sins, but have mercy upon us, and that soon, far
we are come to great misery. Help us, 0 God of our salvation, for the glory
of thy name; 0 deliver us, and be merciful unto our sins, for thy name's
sake. Sa we that are thy people and the sheep of thy pashre shall give thee
thanks for ever, and will always be showing forth thy praise from one
generation to another.
Remember not, Lord, oar offences, nor the offencesof our forefathers; neither
take thou vengeance of our sins, good Lord. Spare thy people whom thou
hast redeemed with thy most precious blood, and be not angry with us for
ever. Spare us, good Lord.
I will sing unto the Lord as long a s I live; I will praise my Gad while I have
my being, and so shall my words please him. My joy shall be in the Lord; as
for sinners, they shall be consumed out of the earth and the ungodly shall
come to an end. But praise ye the Lord, 0my soul, praise the Lard.
0 God, thou art my God; early will I seek thee. My soul tbisteth for thee,
my flesh also longeth after thee in a barren and dry land where no water is.
Thus have I looked for thee in holiness that I might behold thy power and
glary. For thy loving kindness is better than life itself; my lips shall praise
thee. As long as I live will I magnify thee on this manner and lift up my
hands in thy name, because thou hast been my helper. Therefore under the
shadow of thy wings will I rejoice, Hallelujah.
0 God, the king of glory, who hast exalted thine only son Jesus Christ our
Lord with great triumph into heaven. We beseech thee, leave us not
comfortless, but send to us thine Holy Ghost to comfort us, and exalt us
unto the same place.where our saviour Christ is gone before us. Amen.
Lord, how l?ng wilt thou be angry? Shall thy jealousy bum like fire far ever?
0 remember not our old sins, but have mercy upon us, and that soon, far
we are come to great misery. Help us, 0 God of our salvation, for the glory
of thy name; 0 deliver us, and be merciful unto our sins, for thy name's
sake. Sa we that are thy people and the sheep of thy pashre shall give thee
thanks for ever, and will always be showing forth thy praise from one
generation to another.
 'ejeraurej profxo a q pue urnroj~re3
e[oq>s q j ! ~J!snur JO &a!ren e proxr o j soxeN q ! jxrjuo3~ mraj
-%uole pau%!s aq 1661 UI .piojxo JO urn~ojue>e l o q ~ sjo m j ~ n p u o ~
pajurodde seM aq lea.4 Bu!~ol~oj aqj u! pue J!snyq jo Amapmv 1eLox
aqa ae rampal e aurexq aq 6867 UI . u o p u o ~'a%anog s , B m je q ~ m a s a ~
ajenpt-14jsod yoojrapun pue ejerameg projxo aqj papunoj aq jeqj
a m srrl~Xmmp seM p pue orpel1 ~ R rRo pawom~ aq srea.4 uams jxau
 'ejeraurej profxo a q pue urnroj~re3
e[oq>s q j ! ~J!snur JO &a!ren e proxr o j soxeN q ! jxrjuo3~ mraj
-%uole pau%!s aq 1661 UI .piojxo JO urn~ojue>e l o q ~ sjo m j ~ n p u o ~
pajurodde seM aq lea.4 Bu!~ol~oj aqj u! pue J!snyq jo Amapmv 1eLox
aqa ae rampal e aurexq aq 6867 UI . u o p u o ~'a%anog s , B m je q ~ m a s a ~
ajenpt-14jsod yoojrapun pue ejerameg projxo aqj papunoj aq jeqj
a m srrl~Xmmp seM p pue orpel1 ~ R rRo pawom~ aq srea.4 uams jxau
Laurence COmmings
Laurence Cummings was organ scholar at Christ Church, Oxford from
where he graduated with First Class Honours in Music in 1989. He
subsequently studied with Robert Woolley at the Royal College of Music
where he won the prestigious inter-collegiate Raymond Russell Prize,
and currentlv studies with Till Severs. He is active as both solo
harpsichordist and continuo player and has toured and broadcast
extensively with The Sixteen Choir and Orchestra. In 1993 he embarked
upon a s&ies of recordings of harpsichord music for Naxos, beginning
with the music of Louis and Franqois Couperin.
Laurence COmmings
Laurence Cummings was organ scholar at Christ Church, Oxford from
where he graduated with First Class Honours in Music in 1989. He
subsequently studied with Robert Woolley at the Royal College of Music
where he won the prestigious inter-collegiate Raymond Russell Prize,
and currentlv studies with Till Severs. He is active as both solo
harpsichordist and continuo player and has toured and broadcast
extensively with The Sixteen Choir and Orchestra. In 1993 he embarked
upon a s&ies of recordings of harpsichord music for Naxos, beginning
with the music of Louis and Franqois Couperin.
 Nicht so bei Purcell. Wir wissen herzlich wenig iiber die Person;
niemand sdvieb eine Biographie nach seinem vorzeitigen Tod. Und
noch wesentlicher: Er wuchs in einer Zeit bedeutender gesellschaftlicher,
religioser und musikalischer Wandlungen auf. Als Sohn eines
Hofmusaers, Chorist an der Chapel Royal und koniglicher Musiker
diente er wiihrend eines guten Vierteljahrhunderts drei Monarchen. Er
wuchs auf in einem Land, das sich nach drr Wiederherstellu~gder
Monarchie (1660) eigentlich erst wieder entwickelte. Als Purcells
kompositorische Kmiere gegen 1679 die ersten Friichte zu tragen begaui,
hatte er die verheerende Pest in London (1665) miterlebt, die beinahe
ein Sechstel der Einwohner dahingerafft hatte; er war Zeuge der
vernichtenden Feuersbrunst gewesen, die von Teilen der Hauptstadt
nichts als freies Feld "brig gelassen hatte. Und er hatte sehen kdnnen,
wie London schnell zu.einem internationalen Zenhum des Handels und
zu einem Hexenkessel politischer Inhigen wurde. Dazu kamen die
permanente Verschwendungssucht des Konigs und die alten
barbarischen Gewohnheiten (die Kopfe von Verratem wurden nach wie
vor am siidlicheii Turret der London Bridge zur Schau gestellt).
Das Land und die wechselhaften Zeiten spiegeln sich in Purcells
einzigartiger Mischung aus Scharfe und Heftigkeit. Es ist dies eine
Mischung, die bewuBt traditionelle kontrapuktische Formen mit einer
neuen Harmonik durchsetzt und in der sich kontinentale Elemente und
altenglische Volkstiimlichkeit iiberlagern.
Die Anthems und Orgelstiicke der vorliegenden Aufnahme sind das
Vermichtnis eines reifen Komponisten. Alle Anthems, auch die
Trauermusik, sind sogenannte ,,Full Anthems", die die Gleichwertigkeit
aller Stimmen betonen - im Gegensatz zu den ,,Verse Anthems", in
denen Solostimmen mit dem vollen Chor alternieren. U?1d es sind wohl
diese ,,full anthems", die aie einfachen, personlichen AuBerungen, fiir
8.553129 12
 Nicht so bei Purcell. Wir wissen herzlich wenig iiber die Person;
niemand sdvieb eine Biographie nach seinem vorzeitigen Tod. Und
noch wesentlicher: Er wuchs in einer Zeit bedeutender gesellschaftlicher,
religioser und musikalischer Wandlungen auf. Als Sohn eines
Hofmusaers, Chorist an der Chapel Royal und koniglicher Musiker
diente er wiihrend eines guten Vierteljahrhunderts drei Monarchen. Er
wuchs auf in einem Land, das sich nach drr Wiederherstellu~gder
Monarchie (1660) eigentlich erst wieder entwickelte. Als Purcells
kompositorische Kmiere gegen 1679 die ersten Friichte zu tragen begaui,
hatte er die verheerende Pest in London (1665) miterlebt, die beinahe
ein Sechstel der Einwohner dahingerafft hatte; er war Zeuge der
vernichtenden Feuersbrunst gewesen, die von Teilen der Hauptstadt
nichts als freies Feld "brig gelassen hatte. Und er hatte sehen kdnnen,
wie London schnell zu.einem internationalen Zenhum des Handels und
zu einem Hexenkessel politischer Inhigen wurde. Dazu kamen die
permanente Verschwendungssucht des Konigs und die alten
barbarischen Gewohnheiten (die Kopfe von Verratem wurden nach wie
vor am siidlicheii Turret der London Bridge zur Schau gestellt).
Das Land und die wechselhaften Zeiten spiegeln sich in Purcells
einzigartiger Mischung aus Scharfe und Heftigkeit. Es ist dies eine
Mischung, die bewuBt traditionelle kontrapuktische Formen mit einer
neuen Harmonik durchsetzt und in der sich kontinentale Elemente und
altenglische Volkstiimlichkeit iiberlagern.
Die Anthems und Orgelstiicke der vorliegenden Aufnahme sind das
Vermichtnis eines reifen Komponisten. Alle Anthems, auch die
Trauermusik, sind sogenannte ,,Full Anthems", die die Gleichwertigkeit
aller Stimmen betonen - im Gegensatz zu den ,,Verse Anthems", in
denen Solostimmen mit dem vollen Chor alternieren. U?1d es sind wohl
diese ,,full anthems", die aie einfachen, personlichen AuBerungen, fiir
8.553129 12
Henry Purcell(1659-1695) :
Anthems, musique pour argue, Musique funebre pour la Reine Mary.
Henry Purcell compte parmi les plus importantes figures de la musique
britannique. Sa tr6s breve existence se deroula B Londres oii. a dix-huit
ans, il sicceda Locke au poste de Compositeur des violons du roi,
avant de devenir organiste de Weshninster en 1680. Apres s'etre d'abord
fait remarquer par des oeuvres instrumentales(sonates en trio), il
s'interessa a partir de la fin des annees 1680 a l'opera. En cette matiere
Le Roi Arthur, Didon et Enie ou The Fairy Queen temoignent du genie
dramatique et de la comaissance de la voix du maitre anglais.
Mais la musique sacree leur domia eaalement la oossibilite de
s'exprimer. ~ a n s > edomaine Furcell ~tilisafr6~uemme;t l'anthem. On
rappellera que cette forme musicale typiquement anglaise connut un
essor considerable outre-Manche B partir du debut du XVIe siecle durant
le reme d'Henri VIII(1509-1547). .. aui fut m a r a d oar une deeradation
L A . " ~

des rapports avec la papaut6 et, en 1534, par la naissance offidelle de

l'eglise anglicane.
Au fil des ans la sh-ucture de l'anthem se fit plus savante et deux
grandes categories emergerent: le full anthem, ecrit pour chceur et le
uene anthem, oh des voix solistes concertent avec le chceur. Precisons
cependant que la distinction entre les deux genres n'est pas toujours
aussi tranchk. On le constate dans avec full anthem with verse.. un h, r -e
~~-~ ~

d'anthem oa des groupes de solistes qui concertent avec le choeur - le

Blow up the trumpet in S i o une
~ oeuvre de ieunesse (1679)
~. de Purcell, en
fournit une magiifique illustration. Dans tousles cas I'accompagne&ent
fait appel a un ensemble instrumental ou se limite B l'orgue.
Henry Purcell(1659-1695) :
Anthems, musique pour argue, Musique funebre pour la Reine Mary.
Henry Purcell compte parmi les plus importantes figures de la musique
britannique. Sa tr6s breve existence se deroula B Londres oii. a dix-huit
ans, il sicceda Locke au poste de Compositeur des violons du roi,
avant de devenir organiste de Weshninster en 1680. Apres s'etre d'abord
fait remarquer par des oeuvres instrumentales(sonates en trio), il
s'interessa a partir de la fin des annees 1680 a l'opera. En cette matiere
Le Roi Arthur, Didon et Enie ou The Fairy Queen temoignent du genie
dramatique et de la comaissance de la voix du maitre anglais.
Mais la musique sacree leur domia eaalement la oossibilite de
s'exprimer. ~ a n s > edomaine Furcell ~tilisafr6~uemme;t l'anthem. On
rappellera que cette forme musicale typiquement anglaise connut un
essor considerable outre-Manche B partir du debut du XVIe siecle durant
le reme d'Henri VIII(1509-1547). .. aui fut m a r a d oar une deeradation
L A . " ~

des rapports avec la papaut6 et, en 1534, par la naissance offidelle de

l'eglise anglicane.
Au fil des ans la sh-ucture de l'anthem se fit plus savante et deux
grandes categories emergerent: le full anthem, ecrit pour chceur et le
uene anthem, oh des voix solistes concertent avec le chceur. Precisons
cependant que la distinction entre les deux genres n'est pas toujours
aussi tranchk. On le constate dans avec full anthem with verse.. un h, r -e
~~-~ ~

d'anthem oa des groupes de solistes qui concertent avec le choeur - le

Blow up the trumpet in S i o une
~ oeuvre de ieunesse (1679)
~. de Purcell, en
fournit une magiifique illustration. Dans tousles cas I'accompagne&ent
fait appel a un ensemble instrumental ou se limite B l'orgue.
 ~ r g a & t ede Westminster et de la Chapelle myale, Henry Putcell n'a
destine que tr& peu de musique son insrmmeat.Au total moins dtne
dizaine de psces, toutes apparentees au Voluntary. Une virtuosi@
inhabitueuepour lU@que s'en d w g e parfois (ex:vo~untmyen rd minew)
et l a d e imagina les excepthnek moyens techniques d'un musicien
repu@pour ses dons d'improvisateur.