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Celebrate this Festival, Z321

composer
30 April 1693; Ode for Queen Mary's Birthday
author of text

 
With Celebrate this Festival we come to the fifth of six Odes Purcell wrote to celebrate the birthday of Queen Mary in successive years from 1689. By 1693 the scoring of the orchestra had been increased to include oboes, recorders and a trumpet and, although the basic plan remained the same, the size and scale of the Odes and their dramatic content had increased. The choruses, often developing out of a series of solo sections, had increased in length and, in the interests of keeping pace with the libretto, instrumental ritornelli had all but vanished, with sections running instead straight into a contrasting vocal movement. Purcell worked closely with the famous trumpeter John Shore, and possible now were movements with virtuoso obbligato trumpet parts, of which the suitably military ‘While, for a righteous cause’ is a splendid example. Similarly, the presence of both oboes and recorders in the orchestra (oboists usually doubled on recorders) enabled delicately scored movements such as ‘Return, fond Muse’ (scored for two recorders and viola). The Symphony, much grander in scale than those of ten years before, was on this occasion copied directly from Hail! bright Cecilia, performed just six months previously, and Purcell was obviously blessed with two fine sopranos, whose opening duet sets a suitably stately tone for the Ode. But there is also writing of great beauty too, in particular the quietly ecstatic setting for solo alto, over a ground bass, of ‘Crown the altar’. Effective, too, is the wonderful seven-part vocal texture at ‘Repeat Maria’s name’ which throws the Queen’s name between voices and instruments before a minuet closes the work in elegant vein.

from notes by Robert King © 2010

Avec Celebrate this Festival, nous voici à la cinquième des six Odes écrites par Purcell de 1689 à 1694, pour l’anniversaire de la reine Marie. La distribution orchestrale de cette œuvre de 1693 est agrémentée de hautbois, de flûtes à bec et d’une trompette et, si le plan de base demeure inchangé, la taille et l’envergure des Odes, mais aussi leur contenu dramatique se sont amplifiés. Les chœurs, souvent développés à partir d’une série de sections solo, ont gagné en longueur et, pour suivre le rythme du livret, les ritornelli instrumentaux ont presque tous disparu, les sections embrayant plutôt avec un mouvement vocal contrastif. Purcell travailla en étroite collaboration avec le célèbre trompettiste John Shore et les mouvements avec parties de trompette obligée virtuose lui devinrent possibles, tel le militaire, et splendide, «While, for a righteous cause». De même, la présence, dans l’orchestre, de hautbois et de flûtes à bec (généralement tenues par les hautboïstes) permit des mouvements délicatement écrits comme «Return, fond Muse» (pour deux flûtes à bec et alto). Pour cette Ode, la Symphonie, bien plus grandiose que toutes celles des dix années passées, fut directement empruntée à Hail! bright Cecilia, jouée tout juste six mois plus tôt. Purcell avait manifestement le bonheur d’avoir deux remarquables sopranos et leur duo inaugural instaure le ton solennel qui convient à cette Ode. Mais on découvre aussi une écriture de toute beauté ailleurs, notamment dans le «Crown the altar» pour alto solo, paisiblement extatique par-dessus un ground bass. Tout aussi impressionnante, la merveilleuse texture vocale à sept parties, à «Repeat Maria’s name», lance le nom de la reine entre les voix et les instruments avant qu’un menuet ne vienne élégamment clore l’œuvre.

extrait des notes rédigées par Robert King © 2010
Français: Hypérion

Mit Celebrate this Festival kommen wir zu der fünften der sechs Oden, die Purcell anlässlich des Geburtstags von Königin Maria regelmäßig ab 1689 schrieb. Purcell erweiterte die Anlage im Laufe der Zeit, so dass 1693 im Orchester auch Oboen, Blockflöten und eine Trompete auftraten und obwohl die Gliederung im Großen und Ganzen gleich blieb, hatten sich der Umfang und die Anlage der Oden und ihres dramatischen Inhalts erweitert. Die Chöre, die sich oft aus einer Reihe von Solo-Abschnitten entwickelten, waren länger geworden und um mit dem Libretto Schritt zu halten, waren die instrumentalen Ritornelle fast verschwunden, so dass die verschiedenen Abschnitte stattdessen direkt in einen kontrastierenden Vokalsatz übergingen. Purcell arbeitete eng mit dem berühmten Trompeter John Shore zusammen und es waren nun Sätze mit obligater Trompetenstimme möglich, wofür das passend militärisch anmutende „While, for a righteous cause“ ein sehr gutes Beispiel ist. Dementsprechend machten die Oboen und Blockflöten im Orchester (wobei die Oboen die Blockflöten zumeist verdoppelten) feingliedrige Sätze wie etwa „Return, fond Muse“ (das für zwei Blockflöten und Bratsche angelegt ist) möglich. Die Sinfonie, die eine sehr viel größere Anlage hat als diejenigen der vorangegangenen zehn Jahre, wurde zu dieser Gelegenheit direkt aus Hail! bright Cecilia kopiert, das erst sechs Monate zuvor aufgeführt worden war, und Purcell standen offenbar zwei sehr gute Soprane zur Verfügung, deren Anfangsduett eine gebührend prächtige Atmosphäre zu Beginn des Werks herstellt. Doch auch andere Sätze sind wunderschön komponiert, insbesondere der stille, ekstatische Satz für Solo-Alt, „Crown the altar“, der über einem Basso ostinato erklingt. Ebenfalls wirkungsvoll ist die wunderbare siebenstimmige Vokaltextur bei „Repeat Maria’s name“, wo der Name der Königin zwischen Stimmen und Instrumenten hin- und hergereicht wird, bis ein Menuett das Werk in eleganter Weise beendet.

aus dem Begleittext von Robert King © 2010
Deutsch: Viola Scheffel

Recordings

Purcell: Odes, Vol. 3 – Fly, bold rebellion
CDA66412Archive Service; also available on CDS44031/8
Purcell: The Complete Odes & Welcome Songs
CDS44031/88CDs Boxed set (at a special price)

Details

Movement 01: Symphony
Track 17 on CDA66412 [1'37] Archive Service; also available on CDS44031/8
Track 17 on CDS44031/8 CD3 [1'37] 8CDs Boxed set (at a special price)
Movement 02: Celebrate this Festival
Track 18 on CDA66412 [1'31] Archive Service; also available on CDS44031/8
Track 18 on CDS44031/8 CD3 [1'31] 8CDs Boxed set (at a special price)
Movement 03: Britain now thy cares beguile
Track 19 on CDA66412 [2'35] Archive Service; also available on CDS44031/8
Track 19 on CDS44031/8 CD3 [2'35] 8CDs Boxed set (at a special price)
Movement 04: 'Tis sacred, bid the trumpet cease
Track 20 on CDA66412 [0'47] Archive Service; also available on CDS44031/8
Track 20 on CDS44031/8 CD3 [0'47] 8CDs Boxed set (at a special price)
Movement 05: Let sullen Discord smile
Track 21 on CDA66412 [2'39] Archive Service; also available on CDS44031/8
Track 21 on CDS44031/8 CD3 [2'39] 8CDs Boxed set (at a special price)
Movement 06: Crown the altar, deck the shrine
Track 22 on CDA66412 [3'04] Archive Service; also available on CDS44031/8
Track 22 on CDS44031/8 CD3 [3'04] 8CDs Boxed set (at a special price)
Movement 07: Expected Spring at last is come
Track 23 on CDA66412 [1'48] Archive Service; also available on CDS44031/8
Track 23 on CDS44031/8 CD3 [1'48] 8CDs Boxed set (at a special price)
Movement 08: April, who till now has mourned
Track 24 on CDA66412 [2'53] Archive Service; also available on CDS44031/8
Track 24 on CDS44031/8 CD3 [2'53] 8CDs Boxed set (at a special price)
Movement 09: Departing thus you'll hear him say
Track 25 on CDA66412 [1'19] Archive Service; also available on CDS44031/8
Track 25 on CDS44031/8 CD3 [1'19] 8CDs Boxed set (at a special price)
Movement 10: Happy realm beyond expressing
Track 26 on CDA66412 [3'24] Archive Service; also available on CDS44031/8
Track 26 on CDS44031/8 CD3 [3'24] 8CDs Boxed set (at a special price)
Movement 11: While, for a righteous cause he arms
Track 27 on CDA66412 [4'49] Archive Service; also available on CDS44031/8
Track 27 on CDS44031/8 CD3 [4'49] 8CDs Boxed set (at a special price)
Movement 12: Return, fond Muse, the thoughts of war
Track 28 on CDA66412 [3'28] Archive Service; also available on CDS44031/8
Track 28 on CDS44031/8 CD3 [3'28] 8CDs Boxed set (at a special price)
Movement 13: Kindly treat Maria's day
Track 29 on CDA66412 [2'48] Archive Service; also available on CDS44031/8
Track 29 on CDS44031/8 CD3 [2'48] 8CDs Boxed set (at a special price)

Track-specific metadata for CDS44031/8 disc 3 track 20

'Tis sacred, bid the trumpet cease
Artists
ISRC
GB-AJY-90-41220
Duration
0'47
Recording date
1 January 1990
Recording venue
Rickmansworth Masonic School Chapel, United Kingdom
Recording producer
Ben Turner
Recording engineer
Antony Howell
Hyperion usage
  1. Purcell: Odes, Vol. 3 – Fly, bold rebellion (CDA66412)
    Disc 1 Track 20
    Release date: August 1990
    Deletion date: October 2009
    Archive Service; also available on CDS44031/8
  2. Purcell: The Complete Odes & Welcome Songs (CDS44031/8)
    Disc 3 Track 20
    Release date: November 1992
    8CDs Boxed set (at a special price)
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