Purcell Come ye sons of art
View record and artist detailsRecord and Artist Details
Composer or Director: Henry Purcell
Label: Veritas
Magazine Review Date: 12/1995
Media Format: CD or Download
Media Runtime: 55
Mastering:
DDD
Catalogue Number: 545159-2
Tracks:
| Composition | Artist Credit |
|---|---|
| St Cecilia's Day Ode, 'Welcome to all the pleasures' |
Henry Purcell, Composer
Andrew Parrott, Conductor Charles Daniels, Tenor Henry Purcell, Composer John Mark Ainsley, Tenor Taverner Choir Taverner Consort Taverner Players |
| Funeral Sentences for the death of Queen Mary II |
Henry Purcell, Composer
Andrew Parrott, Conductor Henry Purcell, Composer Taverner Choir Taverner Consort Taverner Players |
| Birthday Ode, 'Come ye sons of art away' |
Henry Purcell, Composer
Andrew Parrott, Conductor Charles Daniels, Tenor David Thomas, Bass Emily Van Evera, Soprano Henry Purcell, Composer John Mark Ainsley, Tenor Taverner Choir Taverner Consort Taverner Players Timothy Wilson, Alto |
| March and Canzona |
Henry Purcell, Composer
Andrew Parrott, Conductor Henry Purcell, Composer Taverner Players |
Composer or Director: Henry Purcell
Label: Veritas
Magazine Review Date: 12/1995
Media Format: CD or Download
Media Runtime: 57
Mastering:
DDD
Catalogue Number: 545160-2
Tracks:
| Composition | Artist Credit |
|---|---|
| St Cecilia's Day Ode, 'Hail, bright Cecilia' |
Henry Purcell, Composer
Andrew Parrott, Conductor Henry Purcell, Composer Taverner Choir Taverner Consort Taverner Players |
Author: Jonathan Freeman-Attwood
Although I recently welcomed Paul McCreesh's vital and robust account of Hail, bright Cecilia as the best available account of the marvellous celebratory ode, the reappearance of Andrew Parrott's 1985 version puts a slightly different complexion on things – though in an entirely positive way. Whilst McCreesh makes the score sparkle with his energetic view of tempos, vocal characterization and orchestral timbre, Parrott parades his smooth and integrated forces with less instant theatricality. Instead we have here a typically homogeneous and unfolding scenario: how organically and gently '''Tis Nature's voice'' emerges, with Rogers Covey-Crump expressing the passions with a wonderful air of mystery. So too, ''Soul of the world'' – what a transcendent concluding passage – which has never been bettered for atmosphere and clarity of ensemble. The solo singing here is good (there is some exquisite work from Emma Kirkby and from tenors Charles Daniels and Paul Elliott in ''In vain the am'rous flute'') but it is the delicacy of sentiment which complements McCreesh's more effervescent and lush reading. Robert King's performance should also come into the equation, with its consistently good judgement but as DF rightly asserted in his review, the singing is less even.
The reappearance of Parrott's recordings of Purcell's earlier Cecilian ode, Welcome to all the pleasures and the time-honoured and particularly accessible Come ye sons of art away is also received with open arms. Some may distrust the low pitch (A=392) but the high tenor of Charles Daniels and the satisfying registral blend of Timothy Wilson and John Mark Ainsley in ''Sound the trumpet'' are more than adequate recompense and the former's mellifluous rendering of ''Here the deities approve'' is a real gem to be savoured. King has much to say about all these odes too. Blessed on almost all fronts.'
The reappearance of Parrott's recordings of Purcell's earlier Cecilian ode, Welcome to all the pleasures and the time-honoured and particularly accessible Come ye sons of art away is also received with open arms. Some may distrust the low pitch (A=392) but the high tenor of Charles Daniels and the satisfying registral blend of Timothy Wilson and John Mark Ainsley in ''Sound the trumpet'' are more than adequate recompense and the former's mellifluous rendering of ''Here the deities approve'' is a real gem to be savoured. King has much to say about all these odes too. Blessed on almost all fronts.'
Purcell Come ye sons of art
Purcell Hail! Bright Cecilia.
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