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But before the singers enter we are treated to one of Purcell’s glorious string symphonies: the slow opening is marvellously wistful in its rich harmony, and the triple-time that follows dances elegantly in Purcell’s inimitably crafted style. A solo bass interrupts with his blustering first question ‘Why do the heathen so furiously rage together?’, his irritation given added emphasis by the repetition of ‘Why?’. The two tenors join in as ‘the kings of the earth stand up’ against the Lord, and lively running figures depict the breaking of bonds and casting away of cords. God’s answer to this challenge of his authority is to ‘laugh them to scorn’, illustrated by the solo bass’s jagged scotch snaps. The two tenors’ lines intertwine tantalisingly at ‘and vex them in his sore displeasure’ before more gentle triple-time writing brings the first section to a close.
Purcell instructs the strings to play ‘The Tripla of the Symph again’, introducing a more thoughtful section of semi-recitative and another substantial solo for his friend the bass John Gostling, whose graphic vocal illustration (over two octaves) of the ‘uttermost parts of the earth’ would have brought a smile to the royal face. The tone of the text moderates, and the two tenors gently advise wisdom as a better course than provocation. Purcell sets the word ‘reverence’ with especial deference, dropping the top voice nearly an octave. John Gostling’s bass still dominates: it is he who sings ‘If his wrath be kindled’, and the two tenors who timidly add ‘yea, but a little’, but homophony returns with the final advice that ‘blessed are all they that put their trust in him’. A short instrumental ritornello, including Purcell’s own instructions for echoes, links into a short choral repetition of the trio and a final, positive ‘Alleluia’.
from notes by Robert King ©
Purcell demande aux cordes de rejouer 'The Tripla of the Symph', introduisant une section plus méditative de demi-récitatif et un autre solo important pour son ami, le chanteur John Gostling, dans lequel l'illustration vocale graphique (plus de deux octaves) des 'uttermost parts of the earth' (extrémités de la terre) doit certainement avoir enchanté le roi. Le ton du texte diminue d'intensité et les deux ténors conseillent doucement la sagesse plutôt que la provocation comme meilleure façon d'agir. Purcell met le mot 'révérence' (révérence) en musique avec un respecte tout spécial, baissant presque d'une octave la voix la plus haute. La basse de John Gostling continue à dominer; c'est lui qui chante 'If his wrath be kindled' (Car sa colère est prompte à s'enflammer) et ce sont les deux ténors qui ajoutent timidement 'yea, but a little' (oui, un peu); mais Fhomophonie retourne avec le conseil final que 'blessed are all they that put their trust in him' (Heureux sont ceux qui se confient en lui). Un court ritornello instrumental, qui comprend les instructions de Purcell pour les échos, se joint à une courte répétition chorale du trio et à un Alléluia final et positif.
extrait des notes rédigées par Robert King © 1993
Français: Alain Midoux
Purcell weist die Streicher an, die Dreiertaktpassage der Sinfonie zu wiederholen, und fuhrt damit eine besinnlichere, halb rezitativische Passage und ein weiteres umfangreiches Solo für seinen Freund ein, den Baß John Gostling, dessen plastische gesangliche Umsetzung (über zwei Oktaven) von 'uttermost parts of the earth' [der Welt Enden] dem königlichen Publikum gewiß ein Lächeln abgerungen haben wird. Alsdann mäßigt sich der Tonfall des Textes, und die beiden Tenöre legen gütig nahe, daß Weisheit der Provokation vorzuziehen sei. Purcell vertont das Wort 'reverence' mit besonderer Ehrerbietung und läßt dazu die Oberstimme um fast eine Oktave absinken. John Gostlings Baß dominiert auch weiterhin: Er singt 'If his wrath be kindled' [wenn sein Zorn entfacht wird], während die beiden Tenöre furchtsam hinzufugen 'yea, but a little' [und sei es nur ein wenig], doch mit dem abschlieSenden Ratschlag 'blessed are all they that put their trust in him' [wohl allen, die auf ihn trauen] wird die Homophonie wiederhergestellt. Es folgt ein kurzes Instrumentalritornell, laut Purcells Anweisung mit Echos versehen, das in eine kurze chorische Wiederholung des Trios und in ein letztes positives 'Alleluja' übergeht.
aus dem Begleittext von Robert King © 1993
Deutsch: Anne Steeb/Bernd Müller
Purcell: The Complete Sacred Music ‘It is hard to speak too highly of this enterprise … much enjoyment to be had’ (Gramophone) ‘The performances from The King’s Consort and its Choir, the Choir of New College and a starry line-up of soloists have such qualities of concentratio ...» More |