enry Purcel Songs
CONTENTS
Also edited by Pete Wishart: Sw et
th
r os e
15
Ido
Solo from Handel' 'Messiah with stylistic embellishment
20 25
De
p re tt y
Dido's
o ut h
29
lament
!ho F ro m Stainer
ro
b ow r' s
12 23
Bell Lt
ow
gs
N ym ph s
an
s he ph er d
E ve ni n
h ym n
ve
Piou
28
fly 12
Celind
19
Oh solitude! I 'l l a i
22
u po n
th
d og - t a
30
Thisnew edition of Purcell'ssong coincide with the withdrawal of Twenty F av ou ri t S on g an includes many of th work containe in that volume
GALLIARD STAINER ig
nN
2 12 1 B ro ad wa y N e 1 97 6 S ta in e
Y or k N Y 1 00 2 B el l L t
INTRODUCTION ed fev al
NOTE
o u b y a ri o
p u l is he r ) ,
t he r
o ul d b e l es s r ea so n f o d i s at is fa ct i n .
ON PERFORMANC
recitativo secco. It should be sung
it is ve
temp
hich feel comfortable.
singers, TH
al hi gs it ne so e jb ic e ca b ta i e d s h t en i th
T EX T
Urtext. Britannicus and Harmoni ther REALIS
Bo ot
t w a r u se fu l er te sp in in rh th r e i ou s t o t h a cc en t a s s u g es te d i n ' S e et e
Orpheus
Sacra
were obscurities. ay
nON
it
u e e ga r
t o s ty le .
c ca si on al l
o we ve r
s om e i n i ca ti on s
cc
a rm on is at i n . E ls e h e t yl e a in e ve an ea
av e al is e t h b a si a mi li ar i l ov in g s t d y a n e rf o m a c e It
ar KEYS
it
P ur ce l ' s
an unspecified sso er
editorial
suggestions.
o r a me nt at i
e xc ep t
i n e pe a e d
a ss a e s
It
ar
r in te d
ev ti approximate.
av
ee
ed
th
te
ta io
en
er
al
Willia
Fuller
Henry Purcell
Slow VOICE man,
Pianoforte an harpsichor Unti ther isa harpsichor (letalone chambe organ) i n e ve r p la c h er e p eo pl e p er fo rm , a n c el li s i n a dd it io n t o t h h ar ps ic ho r i n harpsichords of Purcell' da ha even less bass than most mode
.....
iii· o m
should'st
?!im'
Lord,
,.
a n. j l os t
a n t ha t t ho u s ho ul d' s
I I , _
It.!
~,
if
l!~
__..--
S e o f s in ge r I n P ur ce ll ' d a p eo pl e e r i nd if fe re n t o t h s e o f t h s in ge r a n many of Purcell' most passionate men' song (a fa as th word tell us woul have
.6J
17....____
---------r
these.
W e h op e t ha t e xp er ie nc e p ro fe ss io na l i ng er s h o m a u s t hi s v ol u w il l n o b e en im di ct e. el th beginners are often frightene of composer lik Purcell because they have simply no i de a w he r t o t ar t i n t h i nt er pr et at io n o f t he m T he y m a h ow ev e f in d t h c ol le ct io n u se fu l i n o th e ay
P ET E
t ho u
1\
Introduction In thos song wher ther isno introduction (the majority), simple t on i c ho r i s t h b es t b eg in ni ng , t ho ug h s o e ti me s t h l as t l in e o f t h s on g w il l d o
performin
th
.u
instruments, an
a cc o p an i e n t o P ur ce ll ' s on gs . T he s a r p ia n a cc om pa ni me nt s b u c a b e transferre to th harpsichor or orga easily enough experience or experiment will g ui d t h p la ye r t o a da p h er e n ec es sa ry . It w il l o me ti me s b e f ou n t ha t l ar g mode pian will serv best if th li is s hu t d o a n t h d e p la ce d o n t op . H el d b a n ot e i nt en de d f o t h o rg a ( e. g L or d h a i s m an ' B oo k o ne ) w hi c c an no t en an ay pe te It isworth reiterating, however, that th tw things whic Purcel left ar th voic a n t h b as s p ar ts , a n t he y s ho ul d b ot h b e h e ar d s o t ha t h ar p i ch or d w it ho u b as s t o a tc h t h v oi c a n n o c el l ( vi ol a d a g am b o r w ha te ve r i s a n i ns ul t t o u rc el l art.
man,
lost
I'llil
R EE N
W IS HA R
fG
ry.
I' ..
,....,..
fT
LE N ot e T h f ir s s ec ti o o f t hi s c an ta t s ho ul d b e t re at e a s r ec it at iv e a cc om pa ni e it u p c ol o t h w or ds . he ca n e a lr ea d a in t a n e x i st e i ct ur e a n c on tr as ti n ' wo r a n ' Go d' . T h t ri pl e t im e s ec ti o r eq ui re s s om et hi n d if fe re nt , a he a a t h e e n th he al e ja i s s ur el y u ie t a ff i m ai o fa h,
Frome, Somerset
1976
his
Source
Harmonia Sacra " A D i n e
m n' .
r i i na l
ey
mi r.
l li a
ul e
r ec it at iv e b u n ev er th el es s r ec it at iv e C ol ou r c ol ou r si ge - e p lo i is th fu oo ho ba l es s d ra ma ti c f lo wi n a n m el li fl uo us . D on ' r ac e
as
or
B is h
o r L in co l
10
~---
@)
-bode,_
e -c o e a
20
1\
poo ___
...----:\'
t.!
t.!
was shrunk
.i..>:
It-'
what is
-,J
-----
~r
11
ii
Iltf-: ):~'"
'!!
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iI ..
t.!
1(*
-#
lost __
man,
dt
---.
~~
...-'
II'"
- t
in
,;::;;;;=:--... J.
.-
-ft.
T h D e - -ty
1\..
II"~,-,,~
r---=I
jI
man!
me,
t_
..
............
;-
or
0__
r -
1\
eT
-"
~:
----'" lz.___.,1
.....
~.
I_
1\
25
r---,
eT me,
0_
-----..
1\
If ~r-----t
t.
"'-:if ,.
1\
!!,.-
,lJ
t.!
to be-com
ry.
glo
t or -m en t
?j
l~L...lr
1\
J~I
I..........!!i
-~
veal.
ed
I_~
I~
L.
poor__
gl
-------I
flIo,
.-
!-'----"~
ll·~.
- ' ; - ~~
----------
-8-
30
rious
sp -rits.when yeknewthe wa th
40
II·
1I.
f G
e -
@J
-s
-c
......
.......
'd
-t
i - ty,
1\
-------------------
--------------------------II
1\
ply
blest
_.......-
-r
.~
.,;-.
tell,
worm
II
should-die,
god
1\
l~f ...._
Quick
35
.~
45
i ch . w hi c
di
x- el
---...
which wasmore
Ir
fF
l!~
------------------II
worm
@J
pre-va-lent,
your
god
joy
should
die.
,~
1101
iJ"
rf;fl
-~
~J
1,,-------,
."
li
--
'T
lJ
""---'-
",_j
-----
50
1\
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-to
Oh!
_.......-,
..._/
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..
for
quill.
......
,,
<9
-I I·
11
10
tJ
.s
70
55
'" draw __
quill
to
--......
II
tJ
writ __ ..........
...........-:
...___
1\
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an
like
oice
the
/'
=:::::::::::: 60
'"
75
..
,__
th __
s-
-;-.,...
1/
'"
write __
to
r,...- r - - -
I -
80
sun __
t h' E t e
------=
_Ii!!
~:.___j
_-
.-
/u
IIr~
tJ
/l_
oh!
oh!
.....----...._
'"
--.r
.!r'.rt'
L£f!Cf 85
'" like
voice
...;;;;;:
~I
p;.... ..........
you
lilt
Ir
!!'
65
of
--
sung, __
you
----
1\
'~I
r ai s
I-""__
[~
1\
-tJ th __
--
~nuJ
~I
-,.....,
1---- 1..._d-1 -....__
..
-tJ
J!!-""',------"
Yours,__ ~.
!!~i
I~
-it
----
III. 1 I r "
them
I"
j~ .Y
12 1\
ere,
which
o nc e _ _
yo
sung,
"";--
1\
-
====
90
+-
1\
ou
sung__
+t""
e-l 1\
------...
_Il__jf
lu jah,hal
.--..
----,
..--....
..--....
h,
----...
.--..
----...
~-
_Il___jl
lu
t.J
jah,
tr~
- j
--
-.I
s:: '---'
..,;
'-._.'.
105
- j
1\
....--....
--
-+
--...
t.J
I
1I
~~
~-
1\
-
100
->
bove.
____..._ t.J
-
.....___
1'_
!!
t.J
l
~r
.
,I
j
:::::::--...
_j_
- I
- j
...---.... .....--::=::--
~~ ..
..._:_
rt
......
l -
Ir
....,_
110
!J
-Iu-jah.
hal-Ie
lu ja
. ! ! ! ! ! ! ! ! ! ! ! ! ! ! I = _ ! ! ! ! I ! ! ! ! I! ! ! !
SWEETE
THAN ROSE
hal
Thomas
<:s
. .. l! !! !! !l r
Norton
Henry Purcell
s:
--......
fl
Lento
;::::j .__,
VOICE ".
Sweet
er th
ses,
ro
or
1\
..
t..I l e- I 1\
s:
--,..-
---j ah ,
h al -
-j
u-j
I;
-j
'7
l!
'Jllr !"
~ ~
c oo l _ _
-.;~
'-----"
cool
-:::::::--
11
- 1 1 I- a
~LJr
e-
jah,
[_Ji~;;T
'U mosso I~~
~-
'~
~'
120
jah,
Note Th proble here isto givethe pictur of utte ecstasy: yo don' actually mentio what issweete than rose until ba 16 whic issurel signtha yo ar in love W ithin th discipline of th notes, th feelin must appear freeand spontaneous, bu th rhythm must remain Nosuchproblems afte 'The shot like fire', an th fina sectio isa shou ofjoy Sources
Pausanias and O r p h eu s B r i t an n i c u s
Copyrig ht 197 Staine
BellLtd
16
17
rt:\l
10
/I
-. ses.c,
TO
II
or
ccol.L,.,
coo __
ev'
--;---..
@)
~-#
Ir
o-I(___Y
.__..
-"--.f
ning
" ,_ _ __ _ _ " *
#-./-9-
mad me freeze
----
r y s ho re , W as t h e d e ar ,
ll.all, all o'er,
the
all, then shot
LIr_'
h~
like fire
:J
II
i'
'----
25
t.!
t.!
<.::»
II
T0r~
=--=
t.!
II
::
~-
.:;
'_.,.
t.!
II
r-:~
all,
The sho lik fir
[t:\]
:11'"
flow
allegro
I.~
_,..
. .. - - - -" "
;~-.-
oJ
__
_./I
II
.:»
~u
pil mosso
15
=---
t.!
---..:!'-
;:....O...;;~
dear._
th dear.L
dear.i
~J
Allegro -e-
..--.,
=:IL.J
t.!
Ii
ii
all.c, all
=d·t
er. II
I~
t.!
-i--~U
.'~
__..
-5>_______.,..--
==
t9
~,
M~
locoL
mf
;-..
.r
I~ "*_./
8-
rail,
=""'"
20
tempo prime
first
-Iing,
t re m
etc,
~~
hat
.,
__
I"" ~RRe~
35
1"""'1
.It
-v
t.!
@)
30
L7TJ-9-
Ir
L......=
.....___
''
?7
I~
'&
18
19 40
rious ,.,11
_d_jj_Jt_
55
__.......~ '6"
love,
all,
all,
all
touch
or
Since
see;
~ri
.L~ I""__"'"
1----./1
L...[
...__j.
tha dear.
_-
>~
'1
r.
I~
~.
45
IIi!
60
What ma-gic II
i !; : : : : ;-
iss
...--..._
...---::
r--:::
All. all all
."
._,,___
..-,I
. i >
,......,---~ 50
,.,,Ii
65
to
all,all,
all, al
a ll , a ll , a ll . a ll ,
all
is
love.
".---..._
Ii
~lLii
Iii
II
~r
I~
IF
'--~ - . . . . . . . . . _ _ _ . . " :
_-....
.s
--------
."
--
:::::::"
<:.:»
,.
70
rious_
love,
For
all
".--...
Il i!
~r
s-:
~I . "
r--------
. a
r---, '1
':
----
to
:.
~U
me.
.-
20
21 15
1\
move
B ea um on t
an
F le tc he r
her,
Those
mo
-t
de
1\
Henry Purcell
~r
eJ 1\
VOICE What
shall
w_
do
l_
1\
1\
Lr
EYBOARD
t.r
e'er.L; l ov '
man
-spise.
__
r""a
1\
-~
1\
her?
ove
- n
- l
can
1\
1'
i~
.-
1\
20
-~
fore
me;
day,
and_
rnelt
.L
1\
-fice?
~f
r'--...
10
1\
thers' hearts
ne
ver_ can
25
I~ -&.
This song perhap almost more than an othe inthe presen collection repays reading. knowin an feelin th words: watc ou fo emphases in th poem an then relate thes to Purcell' setting. Colour th words: 'melt' with along 'rn' "implore with lots of 'pl" an perhap th sectio beginnin 'Since gods' coul berather more conversationa more pointe than languishing. Th youn ma issurel no to melancholy abou hi love in fact th line beginnin 'till for her own sake' are positivel humorous. Notes
Sources
Dioclesian and Orpheus Bntannicus.
own
night; 1\
r-"""':!!
I~
sake.
at
be
23
22 /I
II e!
im
plore
eJ
To__
me
40
oys;
my___
wish_
love
II
II
eJ
e! ~.
_~
30
e!
serv __
ess_
eJ
- l
qy
e!
selve II
..
II e!
:.
,-6'-
im
prov
ing,
T ho ug h _ _
CJ
ger
~t
-=
ver__
could
eJ be_
ing,
lov
lov __
more
tlliiL._
sor
.e
..
_...
LJ
eJ
-'"
50
.Me __
.
I~
_tLL
must
hav ___
br th
in
re
emits__
n _ for
new II
Il e!
e!
35
II
eJ
ver_
/I
II
Ie
45
II
_U
e!
r _
re
lia's
arms
leave __
me___
ex
24
=-"!
CE
e)
ing,____
pir
d _
em
RO
MY
e _ Beaumont and Fletcher
e)
Henr Purcell
..Andante (slow
i n a b ar )
VOICE e)
ince
from my
dear,_
dear, __
my
....
55
weet __
of
eJ
-.
ince
from my
dear,
my
door,__
----.
60
I'll
en
I.....l
be__
stili
.-
de
sir
my
dear,
>~.J.
my
- - --
"'j_
eJ eJ
e)
-.....
r
=-..J
-.
mo
1---"'" I,....j
KEYBOARD
o _
breath;
her
..
e)
dear, __
my
~__l
__l
~_._
ing ___
"I
1L
10
"\
dear,
my
dear___
As
tre
a's
sight
_/l~1
Ie)
~.
ver___
ro
so__
glo
L.......:::l I._,.
rious
----
death.
N o te s A n ot h e i nc r ed ib l e xa m pl e o f P u rc el l' s b ri ll ia n c a t p ai nt in g w o rd s i n m u si c h i t r ea t me n t of ,m d e ar , m y d e ar ' i s s o a f fe c t in g . a s i s t h e d ro p o n 'to m o ur n ' a n n ot ic e p ar t ic u la rl y ' bl ee di ng ' i n b ar s 3 9 t o 4 0 G o in g b ac k w h y n o t s ho rt e n t h e f ir s s yl la bl e o f ' ne ve r ' a l i tt l m or e e ac h t im e t o g iv e e m ph as is . a n y o w il l n o ti c our s ug ge st io n f o t h e p er fo rm a nc e o f t h e w o r d ' ru d el y' ; t h i i s n o rm a l st ylistic practice.
Sources
Dioclesian and Orpheus Britannicus.
1,
etc
30 "\
15
tJ
f.}
----
-........._
1""""'-
~'--l~
'- ~T
tJ
-.....
.,.............b
o um , _ _
fl
un
were
to_
qre_;
It
., tJ
has
35
ourn.
las.__
~h!__
---....
~1
~-Q
~-&
it_
,....---.....
tJ
_.fJ_
eJ
less,_
-----..
20
soul__
un
-~
......__
-tJ
less,
~I
.
.g
116'"'
..___
l.
has
ve
ne
,..--..
ne
ver,
,. ne
ve
no
de
ig t,
Un
tJ
las, __
ing_
eyes,
,.
........
...----
.........
.........1
10
I~
f.}
L.....r
p~r
'"
,.
25
...,
fl
tJ
Iess
were__
it
to
to
mourn.Lie;
_l_
~I
CJ
tJ
40
.J
bleed
ing_
__
heart
lie;
..Ii
,_
f.}
..-----
"!'
bleed
And
i-
-,J
...--
~? -..__..-
ing,
29 45
II
tJ her,
her___
on
ab
whose
sence
...---..,
fI
tJ
...-...
----
-----
1----
...____
VOICE
tJ
~.
II
d ie , _ _
wish
----I
KEYBOARD
d ie , _ _
...--
-.-.-
-.....
I'
tJ rnakes
--
Allegretto II
50
II
II
Henry Purcell
Shadwell
#j
-9 resco
tJ
Thomas
mf
~I
tJ dim.
----
:.-
pr
ty
55
II
tJ
II
p r t -t y
pret-ty,
me,
ke
__
r-==--...
me
I~
.-
tJ
II..
...____..
'""iT youth, II..
fI
I' tJ
".---......._
-==.
----
':------'
~~
-
...---..,
tJ
tJ
n
-ve
un
_,,---.._
mf
--:::=--..
FC!r
'---.--
----
..--
Note Ho many tone colour ca yo employ becaus here isyou chance beguiling, reproachful, senSUOUSnd lots ofech effects, featur of th period Useplent of coquettish confidence when singin this delightful song W ethink th youn lady know she' go he man anyway. Source
Orpheu Britannicus, Asongin th Tempest, sungby MissCross' Original ke
major.
30 1\
1\
t.!
" . .
11;1
---.
-t
-t
_,,---..._.
" . .
____
.: ~===1IIf
1\"
how
ow
eyes;
~I
..--....
10
II
20
t.!
t.! ca
y ou , c a
....
\"
'---'.
t.!
II..
~'-
= i _ ~ ~_ ~
t.!
1\"
....
....
-~ when
,-,,:
-
-
<:.:»
.... <::»:
,.......--:----
'~Wf~p
;.
v-c_:r.
'--....
o;;;;._,,;,.---.........
-r::
_,.......--...
c:rr-
25
l-
II
Me
1IIf
'1
_.
aITL by
V~
you're
1\
t.!
15
~~
._
when
when I, when I_am_by,
how c a y ou , c a y o s le e
you sleep,
---.
::::::--::=::::
____
t.!
no
,..-
II
t.!
ttJ.
---.
~_T
==-=
..1L;I
1\
me
-t
t.t
lone.
no no long-er,
I
---.., t.!
,11-"-
_.._.
t.!
~I
I
r""""=
'I
"!'
.~
dim.
--
r""'1
.-...,
30
yd
dear.
I_
dear.
------.
,..--..
r=-.
Stainer Bell Ltd. combined with th Galliard imprint. offers remarkable c ol le ct io n o f o ng s E n l is h c o s er s r o th l iz a e th an s t o t h presen day. either printe as originally published. or in scholarl editions fo modern performanc with keyboard RT SO FR BOOK (i four books) P UR C
tJ
rm,
and
arm
Wil hugyou, hugyou close.
-~
.....---=::::::~.--...
d_jt
wil hugyou,hug you
RG
-J
yo
l os e
a nd _
k ee p. ,
youc,
....
mf
volume XXXIII us ex
om
h ug .
y o c lo s . ;
nd
ee .i yo
warm.
_h_jt
La
W olf Song
THOMAS FORD
CORKINE
ROBER
RI
'I
TL1'"~
-.y
JOHNSO
THOMAS MORLEY
JOHN DANYEL
FRANCI
JOH
PHILIP ROSSETE
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