Purcell & Blow: Odes & Songs

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Mena and Guillon both sound entirely at ease with Dryden's eloquent English and the musical moods to illustrate literary illusions are captured poignantly...the recorders blend sensitively with... — Gramophone Magazine, May 2011 More…

Release Date: 18th Oct 2010
Catalogue No: MIR109
Label: Mirare
Length: 57 minutes

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Blow: Ode on the Death of Mr Henry Purcell

Work length22:02

Album only

Purcell: Here let my life (If ever I more riches did desire, Z544)

Work length2:48

$1.00

$1.25

Purcell: But ah, I see Eusebia drown’d in tears

Work length3:00

$1.00

$1.25

Purcell: Symphony for the Flutes

Work length1:51

$1.00

$1.25

Purcell: Strike the Viol (from Come Ye Sons of Art, Z323)

Work length2:03

$1.00

$1.25

Purcell: Her charming strains

Work length3:04

$1.00

$1.25

Purcell: Chaconne

Work length7:37

$1.20

$1.50

Purcell: A Song in the Prophetess

Work length4:03

$1.00

$1.25

Purcell: Symphony for the Flutes

Work length1:42

$1.00

$1.25

Purcell: No, no resistance is but vain

Work length4:24

$1.00

$1.25

Purcell: I loved fair Celia

Work length1:52

$1.00

$1.25

Purcell: Sweetness of Nature

Work length2:54

$1.00

$1.25

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There is no record of how Purcell's unprecedented youthful genius was received by his contemporaries, though it seems logical that it must have caused considerable wonder in the musical world centred around Westminster. The reality of London musical life was in fact difficult, frenetic, and grossly underfunded, and, along with the whole city, was thrown into confusion with the outbreak of the plague, the war with the Dutch and the catastrophic fire of London. Suffice it to say that a lifelong friendship developed with John Blow, who relinquished his post as organist at Westminster Abbey to the 20-year old Purcell in 1679.

Blow's music in the Ode on Purcell's death is probably the most coherent melodious and inventive, outside his beloved Church music. It is also his most Purcellian. The choice of two countertenor voices was fundamental in this respect, and this conscious evocation of the Purcellian sound world is extended in the use of the two recorders, stressing both the funerary and other-worldly associations of the instrument. With this collaboration in memory of Purcell however, he achieves the highest level of expression. Early death, in his time was an unremarkable commonplace, and Dryden and Blow are deploring something rather different, the catastrophe of losing a friend who represented both their own hopes, and the energy and potential of English music in full flood.

Reviews

May 2011

Mena and Guillon both sound entirely at ease with Dryden's eloquent English and the musical moods to illustrate literary illusions are captured poignantly...the recorders blend sensitively with the voices and it is a breath of fresh air to hear the simple three-piece continuo team of viol, theorbo and keyboard keeping things simple, tasteful and stylish.

March 2011

the performances are lush, sensual without straying into anachronistic mannerisms of gimmickry...Carlos Mena and Damien Guillon, whose voices are wonderfully well matched, are both at their best in intimate chamber music and they clearly relish the by turns weaving and angular lines of Blow anmd Purcell.

22nd October 2010

The fluency of expression and rich tone of the countertenors Carlos Mena and Damien Guillon combine to bring animation and affection to John Blow’s Ode on the Death of Mr Henry Purcell

Purcell & Blow: Odes & Songs

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