Performance Notes Henry Purcell (c. 1659-1696) was a highly successful ~aroque coi:1poser_ and one of the most important and prolific English composers of all time. Purcell s musical experien h . h . ces began as a boy in the choir. Purcell later succeeded is teac er as organist of Westminst Abbey in 1679. Serving in a number of positions during his career, he provided music f;; the coronation of two English kings and for the f~neral ~f Queen M~. Du~ng his shon life of only thirty-six years, Purcell completed a wide vanety of works, mcludmg cantatas songs, anthems, chamber sonatas and keyboard works. He also wrote several semi-oper~ and incidental music for over forty plays. His Dido and Aeneas was the first great English opera. 0 Sing Out Forever is from the final section of Come, Ye Sons of Art, Away of 1694, a most successful birthday ode for Queen Mary. As a court composer, Purcell was required to compose not only sacred music but also secular pieces for a variety of occasions, such as odes for Queen Mary's birthday on April 30. The source for this edition is Henry Purcell, Complete Works, Volume 24, published by the Purcell Society in London in 1926. The music is first introduced in the original score by soprano and bass soloists and continuo before an SATB choir, oboes, trumpets, drums, strings and continuo sound together the same material on a much larger scale. This new edition for SAB voices has been transposed down a fifth and includes a new keyboard part and optional flute parts as the accompaniment. The first ten measures have been added by the arranger. Tempo and dynamic indications, a fermata and new words have also been added to this edition. Although a performance of this piece would certainly be acceptable with keyboard alone or with keyboard and flutes, the use of strings and other instruments would also be quite effective for the enhancement or support of the vocal parts. Performances in the Baroque era often included instruments doubling the vocal parts. This very joyous and rhythmic work should be performed with a highly rhythmic presentation of the musical ideas. The singers should carefully inflect the text while emphasizing the naturally energized syllables and words. The dynamic indications should be closely followed to contrast the various musical phrases. Patrick Liebergen BL244
Transcript
Performance Notes
Henry Purcell (c. 1659-1696) was a highly successful ~aroque coi:1poser_ and one of the most important and prolific English composers of all time. Purcell s musical experien
h. h . ces began as a boy in the choir. Purcell later succeeded is teac er as organist of Westminst Abbey in 1679. Serving in a number of positions during his career, he provided music f;; the coronation of two English kings and for the f~neral ~f Queen M~. Du~ng his shon life of only thirty-six years, Purcell completed a wide vanety of works, mcludmg cantatas songs, anthems, chamber sonatas and keyboard works. He also wrote several semi-oper~ and incidental music for over forty plays. His Dido and Aeneas was the first great English opera.
0 Sing Out Forever is from the final section of Come, Ye Sons of Art, Away of 1694, a most successful birthday ode for Queen Mary. As a court composer, Purcell was required to compose not only sacred music but also secular pieces for a variety of occasions, such as odes for Queen Mary's birthday on April 30.
The source for this edition is Henry Purcell, Complete Works, Volume 24, published by the Purcell Society in London in 1926. The music is first introduced in the original score by soprano and bass soloists and continuo before an SATB choir, oboes, trumpets, drums, strings and continuo sound together the same material on a much larger scale. This new edition for SAB voices has been transposed down a fifth and includes a new keyboard part and optional flute parts as the accompaniment. The first ten measures have been added by the arranger. Tempo and dynamic indications, a fermata and new words have also been added to this edition. Although a performance of this piece would certainly be acceptable with keyboard alone or with keyboard and flutes, the use of strings and other instruments would also be quite effective for the enhancement or support of the vocal parts. Performances in the Baroque era often included instruments doubling the vocal parts.
This very joyous and rhythmic work should be performed with a highly rhythmic presentation of the musical ideas. The singers should carefully inflect the text while emphasizing the naturally energized syllables and words. The dynamic indications should be closely followed to contrast the various musical phrases.
Patrick Liebergen
BL244
0 SING OUT FOREVER SAB, accompanied, with optional flutes*
English Text by PATRICK M. LIEBERGEN
Music by HENRY PURCELL (1659-1695) Arranged by PATRICK M. LIEBERGEN
