Henry Playford Video
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2024-05-08
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Henry Purcell Daniel Purcell Henry Cooke Pelham Humfrey John Hingston John Blow John Playford Ayres John Gostling 1659 1664 1670 1673 1674 1676 1678 1679 1682 1717
Purcell was born in St Ann's Lane, Old Pye Street, Westminster. Henry Purcell Senior,[3] whose older brother Thomas Purcell (d. 1682) was also a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England.[4] Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (d. 1717), the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from the year 1659 and onward.[5] After his father's death in 1664, Purcell was placed under the guardianship of his uncle who showed him great affection and kindness.[6] Thomas was himself a gentleman of His Majesty's chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (d. 1672),[7] Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor.[8] Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.[5] Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670.[9] (The dates for his compositions are often uncertain, despite considerable research.) It is assumed that the three-part song "Sweet tyranness, I now resign" was written by him as a child.[6] After Humfrey's death, Purcell continued his studies under Dr. John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.[4] Henry Purcell's earliest anthem "Lord, who can tell" was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.[10] In 1679, he wrote some songs for John Playford's Choice Ayres, Songs and Dialogues and also an anthem, the name of which is not known, for the Chapel Royal. From a letter written by Thomas Purcell, and still extant, we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem "They that go down to the sea in ships." In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The work is a very difficult one, opening with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.
Henry Purcell Daniel Purcell Henry Cooke Pelham Humfrey John Blow John Playford John Gostling Shakespeare Groves Simon Preston 1659 1664 1670 1675 1676 1677 1678 1682 1695 1717
Henry Purcell (/ˈpɜ:səl/ o /pársel/) fue un compositor británico del Barroco. Nació el 10 de septiembre de 1659 en St Ann's Lane, Old Pye Street (Westminster) y falleció el 21 de noviembre de 1695 en Dean's Yard (Westminster). Esta considerado el mejor compositor inglés de todos los tiempos.1 Purcell incorporó elementos estilísticos franceses e italianos, generando un estilo propio inglés de música barroca.Purcell nació en el condado de St. Anne, Westminster. Su padre, también de nombre Henry Purcell, fue caballero de la Capilla Real, y cantó en la coronación del Rey Carlos II de Inglaterra. Fue el mayor de tres hermanos, de los cuales el menor Daniel Purcell (fallecido en 1717), fue igualmente un prolífico compositor. Tras la muerte de su padre, en 1664, Henry Purcell quedó bajo la custodia de su tío Thomas Purcell (muerto en 1682), quien mostró por él afecto y cariño. Thomas era asimismo caballero de la Capilla del Rey y gestionó la admisión de Henry como miembro del coro. Henry estudió primero con Henry Cooke, maestro de los niños, y luego con Pelham Humfrey, sucesor de Cooke. Se dice que Purcell comenzó a componer a los 9 años de edad, pero la primera obra que puede ser identificada con certeza como de su autoría es la Oda para el cumpleaños del rey escrita en 1670 (Las fechas de sus composiciones son a menudo inciertas, a pesar de la considerable investigación). Después de la muerte de Humfrey, Purcell continuó sus estudios con el Dr. John Blow, mientras asistía a la Escuela de Westminster. En 1676 fue nombrado ayudante organista de la Abadía de Westminster y compuso obras como Aureng-Zebe, Epsom Wells y La libertina. En 1675 escribió varias canciones para Aires, canciones y diálogos elegidos (de John Playford) y también un himno de nombre actualmente desconocido para la Capilla Real. A través de una carta escrita por Thomas Purcell, sabemos que el himno fue escrito para la excepcional voz del reverendo John Gostling, entonces en Canterbury, pero posteriormente Caballero de la Capilla del Rey. Purcell escribió muchos himnos en diferentes momentos para esta extraordinaria voz, un bajo profundo, que se sabe tenía una tesitura de al menos dos octavas completas, desde re2 hasta re4. Se conocen datos de unos pocos de estos himnos; quizás el más notable ejemplo es They that go down to the sea in ships, compuesto en agradecimiento por un providencial salvamento de un naufragio sufrido por el rey. Gostling, que acompañaba en la oportunidad al rey, reunió varios versos de los Salmos en forma de himno, y le pidió a Purcell que compusiera la música. La obra resulta todavía hoy de una interpretación muy difícil, incluyendo un pasaje que atraviesa toda la tesitura de la voz de Gotling. En 1677 compuso la música para la tragedia de Aphra Behn Abdelazar y en 1678 una obertura y mascarada para la nueva versión de Shadwell sobre Timon de Atenas (de Shakespeare). El coro de La libertina «In These Delightfull Pleasant Groves» se interpreta frecuentemente. En este año se convirtió en Compositor de la Orquesta de Cuerda "Violínes del Rey". Joeur: Simon Preston.
City Waites John Playford 2000
Provided to YouTube by NAXOS of America The Dancing Master, Part II: Cuckolds All in a Row · City Waites, The City Waites: The English Tradition - 400 Years of Music and Song ℗ 2000 ARC Released on: 2000-01-01 Ensemble: City Waites, The Composer: John Playford Composer: Roderick Skeaping Auto-generated by YouTube.
Ivan Tcherepnin Tcherepnin Alexander Tcherepnin Playford Johnston Sanders Stern Mily Balakirev Devoe Ars Musica 1873 1897 1924 1962 1977 1995 1996 2000
"Alexander & Ivan Tcherepnin, The Music of Father and Son" is a program of works written by Alexander and Ivan Tcherepnin. These performances are studio recordings of music previously presented at a Tcherepnin memorial program offered at DePaul University on May 21, 2000 by Ars Musica Chicago. ~0:01 / ‘Processional for Organ’, composed by Alexander Tcherepnin; performed by Louis Playford, organist. This work was written in 1962 for the double wedding of Tcherepnin's nephews in Hawaii. ~4:47 / ‘String Quartet No. 1’, Op. 36 (“Love Offering to St. Theresa of the Child Jesus”), composed by Alexander Tcherepnin; performed by Carl Johnston, Phyllis Sanders, violins 1, 2; Renée Baker, viola; Ingrid Krizan, cello. Enrique Albert Arias has written that this piece "was originally a cantata for narrator, tenor solo, flute, organ, and string quintet on a text of Ernesta Stern. In 1924, the music was reworked as a string quartet. Tcherepnin was moved by the spiritual autobiography of Saint Thérèse of Lisieux +••.••(...)) and used it as the inspiration for this quartet." ~13:10 / ‘There Was No Wind’, composed by Ivan Tcherepnin; performed by Carol LoVerde, soprano; Carl Johnston, Phyllis Sanders, violins 1, 2; Renée Baker, viola; Ingrid Krizan, cello. Enrique Alberto Arias wrote this about the piece: "Composed in 1996, Ivan Tcherepnin's 'There Was No Wind' ('Point n'était de vent') was commissioned by M.P. Belaieff Music Publishers to celebrate its 100th Anniversary. Tcherepnin chose a theme based on a type of Russian folk song known as a 'platsch'. This particular 'platsch' with the French title 'Point n'était de vent' appeared in a 19th-century collection by Mily Balakirev, who collected the tunes and their texts in the Caucasus and supplied simple harmonizations. Tcherepnin used the essentials of this Russian melody and the original harmonies as the basis for a complex work with sumptuous texture and often tonal harmony." The text of ‘There Was No Wind’ is as follows, with translation by Ivan Tcherepnin: Not a stir of wind But watch out, here it comes! Not a soul around Here they come in droves. Not a stir of wind.... She expects no guests, But quickly they come. The whole place is now full. Fine horses in front Brimming all the rooms, Bustling all the rooms, Full of handsome young men. Bustling, all the rooms, Full of pretty young girls. Sparkling halls now full. All the rooms destroyed! Her eyes fill with tears. Oh dear soul Varioushka! Mother come near. Oh Mother come near. She consoles her Saying “Please don't cry, Varioushka. Please don't cry, Varioushka. Don't cry Varioushka. My heart, please don't cry. Please don't cry, my heart. I'll have new halls built! Sparkling new halls!” The gold cup she strikes, She breaks the gold cup With its precious blue gem. “Oh please don't cry, Varioushka, my heart Oh please don't cry. I'll buy you a gold cup With a precious blue gem.” Not a stir of wind.... ~26:43 / ‘Pensamiento’, composed by Ivan Tcherepnin; performed by Sue-Ellen Hershman-Tcherepnin, flute; David Witten, piano. Enrique Alberto Arias has written: “Ivan Tcherepnin wrote 'Pensamiento' in 1995 for Duo Clasico flutist Sue-Ellen Hershman-Tcherepnin and pianist David Witten, as part of the State Department 40th Anniversary celebration of the Fulbright program in Ecuador. The premiere was given that year in Quito, Ecuador." Ivan Tcherepnin wrote: "'Pensamiento' is about uniting North and South. My love of Ecuador and its people is reflected in the opening, which is a mini 'Condor Song'. After an encounter with the Eagle and ensuing conflicts, the Condor peacefully soars away above the highest Andean peaks.” ~30:01 – ‘Duo for Two Solo Flutes’, Op. 108, composed by Alexander Tcherepnin; performed by Sue-Ellen Hershman-Tcherepnin, flute; Jacqueline Devoe, flute. The work's sections are: ~30:01 Moderato ~32:32 Lento ~34:47 Cadenza ~37:46 Sostenuto ~40:34 Presto Enrique Alberto Arias writes of this work, "The 'Duo for Two Solo Flutes' was Alexander Tcherepnin's last completed work. The Swiss duo flautists Dominique Hunziger and Anne Utagawaya commissioned this score, which was completed 8 September 1977, just three weeks before the composer's death. Highly contrapuntal, the due emphasizes interpoint (a technique in which a melodic line is split between the melodic parts) and motivic variation based on the 9-step scale." ~42:02 / ‘Recessional for Organ’ (1962), composed by Alexander Tcherepnin; performed by Louis Playford, organist. This work was written in 1962 for the double wedding of Tcherepnin's nephews in Hawaii.
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