Movement 01: Symphony
Movement 02: Arise, my muse
Movement 03: Ye sons of music raise your voices high
Movement 04: Then sound your instruments and charm the earth
Movement 05: See how the glitt'ring ruler of the day
Movement 06: Hail, gracious Gloriana
Michael Chance (countertenor), James Bowman (countertenor), The King's Consort, Robert King (conductor)
Movement 07: And since the time's distress to wars' alarms
Movement 08: To quell his country's foes
James Bowman (countertenor), John Mark Ainsley (tenor), Michael George (bass), The King's Consort, Robert King (conductor)
Movement 09: But ah, I see Eusebia drown'd in tears
Movement 10: But Glory cries 'Go on'
The overture, like so many of Purcell’s works, is in the French style, with a grand introduction (using the pairs of trumpets and oboes particularly effectively) followed by an imitative section in triple time. The solo alto’s first entry finds Purcell’s imagination stirred by D’Urfey’s text, as indeed it is again later on for the same voice at ‘See how the glitt’ring ruler of the day’ where, over an eight-bar ground bass in minuet style, the sun summons the planets to ‘Dance in a solemn ball’. Opportunities for pathetic texts are obviously limited in joyous Odes, but the section ‘But ah, I see Eusebia drown’d in tears’ enables Purcell to show genuine emotion, despite the fact that ‘Eusebia’ refers to the Anglican Church, regretting the fact that William III has to champion her cause in Ireland. Nonetheless, the piece ends in triumphant manner, with the text exhorting the illustrious Prince not to leave his work unfinished.
from notes by Robert King © 2010