Why, why are all the muses mute? (Welcome Song for James II), for soloists, chorus & instruments, Z. 343
Now does the glorious day appear (Ode for Queen Mary's Birthday), for soloists, chorus, violins & continuo, Z. 332
Welcome, glorious morn (Birthday Ode for Queen Mary), for soloists, chorus & instruments, Z. 338
The present recording was accomplished in 2020 by socially distanced musicians, and director Robert King puts things in perspective, observing in his notes that Henry Purcell lived through the London plague of 1665, during which 15 percent of the city's population perished. Chalk the intensity of this performance up to the musicians' joy at being able to come together to make music once again, or simply to the long experience of King and his King's Consort of 30 years; this is a Purcell release of rare skill and exuberance. ...
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The present recording was accomplished in 2020 by socially distanced musicians, and director Robert King puts things in perspective, observing in his notes that Henry Purcell lived through the London plague of 1665, during which 15 percent of the city's population perished. Chalk the intensity of this performance up to the musicians' joy at being able to come together to make music once again, or simply to the long experience of King and his King's Consort of 30 years; this is a Purcell release of rare skill and exuberance. The enjoyment begins with the repertory. These three Royal Odes were pieces for birthday celebrations, one for King James II and two for Queen Mary. They are extraordinary pieces, and they're inexplicably not often heard. One of the few recordings of the Royal Odes as a group, in fact, came from King and the King's Consort almost 30 years before the appearance of this album. The odes are packed not only with great Purcell tunes but with striking formal freedoms that reveal...
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