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CHAN 0776
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CHAN 0776

Musical London c. 1700: from Purcell to Handel

The Classical Shop
release date: January 2011

Recorded in 24 Bit / 96Khz
album available as a Studio File
Originally recorded in 2010

Artists:

Philippa Hyde

soprano

The Parley of Instruments



Venue:

Potton Hall, Dunwich, Suffolk



Producer:

Rachel Smith



Engineer:

Peter Newble



Record Label
Chaconne

Genre:

Chamber


Early Music

Total Time - 75:12
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GIOVANNI BATTISTA DRAGHI

(c. 1640-1708)
1 

Where art thou, God of Dreams?

2:58
  from Romulus and Hersilia (1682)  
  for soprano, two violins, bass viol, and harpsichord  
 Philippa Hyde soprano
   
premiere recording
 

Trio Sonata

8:24  
  in G minor - in g-Moll - en sol mineur  
  for two violins, bass viol, and organ  
2 1 Adagio 1:44
3 2 Canzona. Allegro - Adagio - Presto 2:07
4 3 Adagio 2:33
5 4 [Minuet] - 0:17
6 5 Vivace - Adagio 1:36
   
 

HENRY PURCELL

(1659-1695)
7 

Tell me, some pitying angel, Z 196 (1693)

6:39
  (The Blessed Virgin's Expostulation)  
  for soprano, bass viol, and organ  
 Philippa Hyde soprano
 

RAPHAEL COURTEVILLE

(fl. c. 1675-c. 1735)
premiere recording
8 

Creep softly, purling streams (1687)

3:58
  for soprano, two violins, bass viol, and harpsichord  
 Philippa Hyde soprano
 

Suite (1687)

7:44  
  in D minor - in d-Moll - en ré mineur  
9 1 Preludio. Prestissimo 0:43
10 2 Fuga in fantasia. Presto 1:44
11 3 Grave. Adagio - Prestissimo - Adagio 2:07
12 4 Ground per fa la mano. Allegro 3:06
   
 

WILLIAM CROFT

(1678-1727)
premiere recording
 

For rural and sincerer joys

7:45  
  Symphony song  
  for soprano, two violins, bass viol, and harpsichord  
13 Overture ([Grave] - Allegro ) - 1:50
14 Recitative. For rural and sincerer joys - 1:06
15 Air. Damon, for song and fight renown'd 1:23
16 Ground. His arms and voice o'er all prevail 3:23
 Philippa Hyde soprano
 

JOHN WELDON

(1676-1736)
premiere recording
 

Suite

10:04  
  in D minor - in d-Moll - en ré mineur  
  for two violins, bass viol, and organ  
17 I Overture. Slow - Brisk 2:38
18 II Minuet 0:59
19 III Almain. Slow 2:16
20 IV Courant 1:48
21 V Two in one on a ground 2:20
   
 

GEORGE FRIDERIC HANDEL

(1685-1759)
premiere recording
 

Venus and Adonis, HWV 85 (c. 1711)

10:11  
  Cantata  
  for soprano, violin, cello, and harpsichord  
  Reconstructed by Peter Holman  
22 1 Recitative. Behold, where weeping Venus stands! 1:02
23 2 Aria. Dear Adonis, beauty's treasure 4:43
24 3 Recitative. Thus, queen of beauty 0:49
25 4 Aria. Transporting joy 3:34
 Philippa Hyde soprano
  Oliver Webber violin  
 

JOHANN CHRISTOPH PEPUSCH

(1667-1752)
premiere recording
 

Sonata 'Smallcoal'

3:52  
  in D major - in D-Dur - en ré majeur  
  for two violins, cello, and harpsichord  
26 Vivace 0:46
27 Adagio 0:34
28 Allegro 0:40
29 Adagio 1:05
30 Presto 0:42
   
 

NICOLA FRANCESCO HAYM

(1678-1729)
premiere recording
 

Have mercy upon me, O God (1716)

14:07  
  Chandos anthem  
  for soprano, two violins, cello, and organ  
31 Sonata. Largo - Andante 2:04
32 Recitative. Have mercy upon me, O God 0:54
33 Aria. Wash me thoroughly from my wickedness. Largo 1:38
34 Recitative. Against thee only have I sinned 0:42
35 Aria. Behold, I was shapen in iniquity. Andante 1:58
36 Aria. Thou shalt purge me with hyssop. Vivace 1:12
37 Aria. Thou shalt make me hear of joy and gladness. Allegro 1:28
38 Aria. Thou shalt open my lips, O Lord. Andante 1:57
39 Aria. Alleluia. Allegro 2:09
 Philippa Hyde soprano


The late seventeenth century was a period of great change in English music. This was a time when the influences of Italian music were ever-increasing, brought to England by Italian composers such as Draghi, Haym, and Matteis, and by their German contemporaries Pepusch and Handel. In this new release we explore how the English composers Purcell, Weldon, and Croft responded to Italian music and incorporated the style into their own works. The piece by Purcell, Tell me, some pitying angel (or ‘The Blessed Virgin’s Expostulation’), written in the style of an Italian cantata, perfectly illustrates his mastery of the Italian style.

This distinctive blend of English and Italian influences also became evident in the works of many European composers in England, as they adopted the native English style and form. In fact, the English legacy can be heard in the music of Draghi, Courteville, Matteis, Handel, Pepusch, and Haym, almost as clearly as in the music of their English contemporaries. Draghi’s trio sonata is a prime example of this. It seems to have been influenced by English consort music, and its short, contrasted sections and unexpected harmonies are far removed from the sonatas that composers were writing in Italy at the time.

The works on this release are performed by Peter Holman’s early music group The Parley of Instruments, which today is recognised as one of the leading exponents of baroque music. The ensemble’s trail-blazing work in English eighteenth-century music has led to collaborations with soloists such as Catherine Bott, Crispian Steele-Perkins, and ElizabethWallfisch. On this release, the group is joined by the soprano Philippa Hyde, with Peter Holman, conductor and founder of The Parley of Instruments, playing the harpsichord and organ.

 

“… The performances are expert but comfortably paced, with lovely singing from the crystal-voiced soprano Hyde, plus four members … of Holman’s group, all in beautiful sound…”

Barker – American Record Guide – July/August 2011


“… Everything is stylish and full of understanding, and Phillippa Hyde’s voice is clear and strong …”

Lindsay Kemp – Gramophone  - July 2011


****
PiRath – Pizzicato Magazine – April 2011
 


“This charming programme portrays musical life in London between Purcell’s death and Handel’s arrival.” “…Hyde sparkles as the soloist in an entertaining album …”  ****

 Rick Jones

Classic FM Magazine - March 2011

“…Philippa Hyde is the well-chosen soloist …silvery-voiced, fluent, articulate, agile, where necessary, vibrato-lite, she is a pleasure to hear.

Piers Burton-Page
 

International Record Review - February 2011

“This is a beautifully planned and performed recital…” “The ensemble playing is never less than superb. Philippa Hyde sings with a full sound, though not in a way that conflicts with the clean instrumental timbres. She certainly has the agility required by several of the songs…”  
“There are some real gems here.”

David Hansell

Early Music Today - February 2011



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