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Come Ye Sons Of Art Vol.8 Import

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1. I. symphony
2. II. come ye sons of art, away
3. III. sound the trompette, 'til around
4. IV. strike the viol, touch the lute
5. V. the day that such a blessing gave
6. VI. bid the virtues, bid the graces
7. VII. these are the sacred charms that shield
8. VIII. see nature, rejoicing, has shown us the way
9. I. symphony - welcome, vicegerent of the mighty king
10. II. ah! mighty sir, if you to such long absence are inclined
11. III. but your blest presence now
12. IV. your influous approach our pensive hope recalls
13. V. when the summer, in his glory
14. VI. all loyalty and honour be
15. VII. music the food of love
16. I. why, why are all the muses mute?
17. II. when should each soul exalted be?
18. III. britain, thou now art great, art great indeed!
19. IV. look up, and to our isle returning see
20. V. accurs'd rebellion reared his head
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3 internautes sur 3 ont trouvé ce commentaire utile 
a voice teacher and early music fan 8 mars 2006
Par George Peabody - Publié sur Amazon.com

All but the largest of Purcell's Odes (notably "Come Ye Sons of Art" and "Hail,Bright Cecelia") seem to have been intended for performance by up to a dozen instrumentalists and a double quartet of singers, who between them covered all the solos and joined forces for the choruses. I believe ,therefore, that the ensemble recorded here closely matches the number of performers that took part in seventeenth-century performances.

For his 1694 offering to Queen Mary "Come ye Sons of Art, away",Purcell was in 'sparkling' form producing an expressive and expansive composition. The text was inspired (probably by Nahum Tate) and full of references to music and musical instruments which gave Purcell's imagination plenty of source material.

The ode "Welcome, vicergent of the mighty King" was written for the return of King Charles II to London. The chorus writing is spritely and full of life,the solo vocal writing sensitive and imaginative and the string writing expecially fine.

"Why are all the Muses mute?" was the first Welcome Song that Purcell wrote for King James II. The opening of this ode is unique as, at first glance, there appears to be no overture, but Purcell pictorializes: "Why are all the muses mute? Why sleeps the viol and the lute? Why hangs untuned the idle lyre?" leads him to begin magically with a lone solo tenor who manages to wake the chorus and then finally the orchestra.

In mentioning the participants, an important singer was not singled out and in my opinion he is the better countertenor all in all. In fact Robert King has chosen him as the first voice to begin his odes. Michael Chance began the singing with "Come, come ye sons of art"; his voice is fresh and new and fortunately takes us away from the "foghorn" quality of earlier British countertenors such as Deller and Bowman. Some listeners may prefer this sound, but I don't. This recording is truly a gem for Purcell lovers and Mark Padmore is another of its shining lights.!
2 internautes sur 2 ont trouvé ce commentaire utile 
amazing, poignant and extraordinary music by the great Henry Purcell 26 février 2011
Par Matthew G. Sherwin - Publié sur Amazon.com
Henry Purcell (1659-1695) remains one of the most talented artists Great Britain has ever produced; and when you hear the incredibly beautiful music on this recording you will instantly know why! The quality of the sound is excellent; I really loved how Robert King, Director of The King's Consort, interpreted "Come Ye Sons of Art, Away;" "Welcome Viceregent of the Mighty King" and "Why are all the Muses Mute?" The performers here are of the highest order and the Choir of New College at Oxford could hardly have done a better delivery of this music.

"Come Ye Sons of Art, Away," with its lyrics thought to be written by Nahum Tate, is something I have enjoyed listening to for decades. While I agree with the reviewer who writes that they perform this a bit differently than I've heard elsewhere, this rendition of the Ode retains its brilliance anyway. Everyone delivers this exceptional Ode for the birthday of Queen Mary (1694) as they should; not a note is superfluous and I could never tire of hearing this rendition of this ode. Michael Chance does a particularly fine job of singing the first three lines of this Ode.

"Welcome, Viceregent of the Might King," with its music by Purcell to celebrate the return in 1680 of King Charles II to London, is equally well executed; while we don't know the author of the lyrics we can hear that even with his very first Ode Henry Purcell was quite capable of writing superlative music that survives the test of time, to say the least--this is beautifully composed music. Again, those who sing the lyrics including the chorus do justice to Purcell's artistry.

"Why are all the Muses Mute," the first "Welcome Song" by Purcell for King James II, gives us yet more elegant music that practically no one but Purcell could have written. The author of the lyrics is also anonymous; but Purcell takes the lyrics and, as usual, elevates them to lofty heights with stunning tenor solos by Mark Padmore and John Mark Ainsley; and the piece ends especially well with Mark Padmore and the chorus performing at their very best.

In sum, I highly recommend this recording which is really just a small fraction of Henry Purcell's singularly beautiful compositions. The performers never miss a note and the musicians deliver an equally exquisite interpretation of Purcell's music. When you listen to this recording you will have no doubt as to the extremely high caliber of Henry Purcell's music, and that's grand.
2 internautes sur 2 ont trouvé ce commentaire utile 
A glorious finale to a wonderful series of Purcell songs 10 mars 1999
Par Un client - Publié sur Amazon.com
This disc is just one volume from Robert King's monumental anthology of Purcell's music - 19 volumes of songs, odes, services and anthems; plus additional discs featuring solo songs and duets. I confess, I myself don't own all of them. But on the basis of the ones I do own I can safely assert that Mr. King is one of the best interpreters of Purcell's music; and that his musicians and soloists turn in performances which are unlikely to be soon bettered. Many of the performers make repeated appearances throughout the series, helping King to knit together a consistent and homogeneous presentation of some of the best baroque music in the world. The extraordinary James Bowman is present in virtually every volume. So are such well-known English baroque performers as Gillian Fisher and Michael George. Frequently encountered are Rogers Covey-Crump and Charles Daniels, both of The Hilliard fame. Some of the less frequent participants, however, are not to be slighted. Mark Padmore appears in a couple of pieces here and there, but leaves an indelible imprint on the entire series by singing the glorious finale "O how blest is the isle" which is featured on this disc, since it is the last of the "Odes and Welcome Songs" volumes. This volume is my favorite, but there are so many other Purcell recordings that are worthy of a baroque lover's attention! Some of my other favorite Purcell recordings, in addition to this one, include: Hail! Bright Cecilia (Herreweghe); King Arthur (Christie); and Fairy Queen (Christie, Christophers or Norrington).
Consider All Your Options Before Buying 24 juin 2007
Par Doug - Haydn Fan - Publié sur Amazon.com
Purcell's Glorious "Come ye sons of Art" is the centerpiece of this CD - one of the most charming works of Western music.
The King's Consort has more experience playing and recording Purcell than anyone and always give excellent performances- however, choosing this performance over others in the catalogue is not quite a gimme. While appealing to choral cognoscenti, there are some drawbacks. In particular, the approach to 2 critical pieces from "Come ye sons of Art" - first, "Sound the Trumpet", which substitutes forcefulness and volume for charm and sweetness and color; and second, that slow pace in the beautiful following number, "Strike the Viol" requires more lilt. The Virgin CD - on the Veritas EMI label - finds the performers more successful in both these selections.
Of course, if you think Purcell is best served by Handelian power... no doubt you will probably prefer the above CD. The EMI Veritas version is a third as much, though I don't care for it's soprano's singing. Casting - always the problem with multiple roles on a permanent recording!~
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