- Purcell: A Divine Hymn, Z. 192: “Lord, What Is Man?”
- Purcell: A Morning Hymn, Z. 198: “Thou Wakeful Shepherd”
- Purcell: Adam’ Sleep, Z. 195: “Sleep, Adam, Sleep”
- Purcell: An Evening Hymn, Z. 193: “Now That the Sun”
- Purcell: Bonduca, Z. 574: “Oh! Lead Me to Some Peacefull Gloom”
- Purcell: Come, Ye Sons of Art Away, Z. 323: V. Strike the Viol
- Purcell: Dido and Aeneas, Z. 626, Act I: “Ah! Belinda”
- Purcell: Dioclesian, Z. 627: “Since from My Dear Astrea’s Sight”
- Purcell: Don Quixote, Z. 578 / 9: From Rosy Bow’rs
- Purcell: Fairest Isle (from King Arthur)
- Purcell: Fly swift ye hours, Z369
- Purcell: From Silent Shades, Z. 370
- Purcell: Full of Wrath, Z. 185
- Purcell: Hail, Bright Cecilia, Z. 328: “Tis Nature’s Voice”
- Purcell: If Musick Be the Food of Love, Z. 379 C
- Purcell: In the black dismal dungeon of despair, Z190
- Purcell: Music for a while, Z583
- Purcell: O solitude, my sweetest choice, Z406
- Purcell: On our Saviour’s Passion, Z. 197: “The Earth Trembled”
- Purcell: Sweeter than Roses (from Pausanius, the Betrayer of his Country, Z585)
- Purcell: The Aspiration, Z. 189: “How Long, Great God”
- Purcell: The Blessed Virgin’s Expostulation, Z. 196: “Tell Me, Some Pitying Angel”
- Purcell: The Indian Queen, Z. 630: “I Attempt from Love’s Sickness”
- Purcell: The Spanish Friar, or The Double Discovery, Z. 610: Whilst I With Grief Did on You Look
- Purcell: The Tempest, Z. 631: “Dear Pritty Youth”
- Purcell: Timon of Athens, Z. 632: “The Cares of Lovers”
- Purcell: Tyrannic Love, or The Royal Martyr, Z. 613 / 2: Ah! How Sweet It Is to Love
- Purcell: Verset in F Major, Z. 716
- Purcell: Voluntary in A Major on the 100th Psalm, Z. 721
- Purcell: Voluntary in C major, Z714
- Purcell: Voluntary in D minor, Z718
- Purcell: Voluntary in D minor, Z719
- Purcell: Voluntary in G major, Z720
- Purcell: What a sad fate is mine, Z428
- Purcell: With Sick and Famished Eyes, Z. 200
It is an important moment in the life of a singer when she is able to confront the standard repertory. After years spent studying theatre and music in Shakespeare’s England under the guidance of musicologist Philip Brett, Jill Feldman recorded two programmes of Henry Purcell’s music in 1992, which is reissued here. Many of the ‘Ayres and Songs’ from Orpheus Britannicus are connected to the English theatrical tradition. In the earliest piece on this album, ‘From Silent Shades’, and the latest, ‘From Rosy Bow’rs’, we hear one theatrical tradition – placing the voice of truth in the mouth of a madman. In the same way, we hear the wisdom of Touchstone in As You Like It, of Feste in Twelfth Night, and of King Lear’s Fool. This programme, superbly accompanied by lutenist Nigel North, searches for that wisdom throughout. In the Harmonia Sacra recording, Purcell’s sacred hymns are interspersed with his complete organ works played by Davitt Moroney, with whom Jill Feldman had collaborated ever since their meeting in 1975 as part of Philip Brett’s ensemble at Berkeley in California. The organ is an exquisite instrument built by Purcell’s contemporary, Thomas Dallam (1677), which resides in the small village of Guimiliau in Brittany.
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