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Robert King, The King's Consort - Purcell: Odes & Welcome Songs, Vol. 5 - Welcome glorious morn (1991)

Posted By: ArlegZ

Date: 8 Feb 2020 14:00:03

Purcell and the majority of the British public were genuinely fond of Queen Mary, who with William replaced King James on the throne when he fled to the continent. London musicians breathed a collective sigh of relief at the Glorious Revolution and Purcell composed six of his finest Odes to honour his new Queen’s birthday.
For his 1691 offering to the Queen Purcell was on sparkling form, with recent successes on the stage leading to a more expansive style of composition. Besides the usual strings, Welcome, welcome, glorious morn also required pairs of oboes and trumpets whose presence is felt right from the extrovert start of the Symphony, where the trumpets’ theme is thrown between the pairs of instruments before all join together, first in busy semiquavers, and then in the rich cadential figuration. The imitative section that follows continues in the same vein, with trumpets, oboes and strings answering each other. In the later Odes there is a more integrated style of composition, with sections flowing into each other with more freedom, and the opening demonstrates this as the tenor soloist, oboes and finally the chorus combine together. The duet ‘At thy return the joyful Earth’ leads into a glorious instrumental ritornello before the chorus returns, this time with the addition of two small duets. For the duet ‘Welcome as when three happy Kingdoms strove’ the mood changes to a more intimate style, but Purcell engineers an effective build-up to ‘the loudest song of Fame’. The tenor solo ‘The mighty goddess’ is an extraordinary piece of writing, with the soloist’s florid line contrasting with the insistent chordal string accompaniment. In the next section ‘Full of Wonder and Delight’ Purcell combines three elements, with a trio, a joyful chorus and finally the full instrumental ensemble joining in praise at the infant Queen Mary’s birth. ‘And lo! a sacred Fury’ is a compositional tour de force, with a dramatic recitative-style opening leading into the extended section ‘To lofty strains’, set over a remarkable dotted six-bar ground bass. The soloist’s line is finally taken up by the full vocal ensemble. Another short passage of semi-recitative, ‘My Pray’rs are heard’, this time for soprano, leads into a ground bass (treated freely in view of its brevity) and finally a chorus. The short bass duet ‘He to the Field by Honour call’d shall go’ and elegant tenor solo ‘Whilst undisturb’d his happy Consort reigns’ take us into the final solo and chorus. First a solo tenor and the two trumpets announce the theme, and then in augmented counterpoint the entire ensemble ends the work in triumphant vein.
On 9 January 1694 Trinity College Dublin celebrated the hundredth anniversary of its foundation by Queen Elizabeth with a service at Christ Church Cathedral ‘sung by the principal Gentlemen of the Kingdom’ which was accompanied by orations in Latin and ‘an Ode by Mr Tate’ (the Poet Laureate) ‘who was bred up in this College’. For Great Parent, Hail to Thee! the librettist of Dido and Aeneas produced one of his weaker offerings, but Purcell still produced extraordinarily fine music. The Symphony is suitably celebratory, with the imitative second section neatly crafted, and the opening chorus full of variety and vigour. The alto solo ‘Another Century commencing’ finds Purcell writing gloriously lyrical music for his favourite voice, and the duet that follows (‘After War’s Alarms repeated’) contains effective word-painting in the echoes of the word ‘repeated’. The bass solo ‘Awful Matron’ is an outstanding movement which shows marvellous control of the solo line. The tenor solo and chorus ‘She was the first who did inspire’ also makes charming use of echoes, the duet ‘Succeeding Princes’ is full of lovely harmonies and the chorus ‘But chiefly Recommend to Fame’ opens out gloriously at its end. The soprano solo ‘Thy Royal Patron sung’ (one of the few extended arias for soprano in the Odes) is another triumph of Purcell’s fertile imagination, effectively written with the two recorders bringing added pathos, and the closing chorus is liltingly joyous.
–Robert King

Performer:
The King's Consort
Robert King, director

Track List:
BIRTHDAY ODE FOR QUEEN MARY, 1691
Welcome, welcome, glorious morn Z338
01. Symphony
02. Welcome, welcome, glorious morn
03. At thy return the joyful Earth
04. Welcome as when three happy Kingdoms strove
05. The mighty goddess of this wealthy Isle
06. Full of Wonder and Delight
07. And lo! a sacred Fury swell'd her Breast
08. My Pray'rs are heard, Heav'n has at last bestow'd
09. He to the Field by Honour call'd shall go
10. Whilst undisturb'd his happy Consort reigns
11. Sound, all ye Spheres; confirm the Omen, Heav'n
CENTENARY ODE FOR TRINITY COLLEGE DUBLIN, 1694
Great Parent, Hail to Thee! Z327
12. Symphony
13. Great Parent, Hail to Thee!
14. Another Century commencing
15. After War's Alarms repeated
16. Awful Matron take thy Seat
17. She was the first who did inspire
18. Succeeding Princes next recite
19. But chiefly Recommend to Fame
20. Thy Royal Patron sung: Repair
21. With themes like these, ye Sons of Art
WELCOME SONG FOR CHARLES II, 1682
The summer's absence unconcerned we bear Z337
22. Symphony
23. The summer's absence unconcerned we bear
24. And when late from your throne Heaven's call you attend
25. Ah! had we, Sir, the power or art
26. Happy while all her neighbours bled
27. So happily still you your counsels employ
28. These had by their ill usage drove
29. But those no more shall dare repine

EAC LOG

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The King's Consort & Robert King / Purcell: Odes & Welcome Songs, vol 5

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