_ HENRY ~ PURCELL

and Instrumental Music for the Play

. HONOR SHEPPARD ‘ Soprano

SALLY LE SAGE Soprano Counter-tenor | PHILIP TODD : Tenor MAX WORTHLEY Tenor 7 es MAURICE BEVAN , Bass

—s CHOIR AND ORCHESTRA - OF THE CONCENTUS MUSICUS : OF VIENNA NIKOLAUS HARNONCOURT Director

ftecorded under the Auspices of TH a = = Q = S & . I> Co ND é. pe —— —— -~——-~ ~~ — — -—— ——_—__— -— -——— — ~ PURCELL The ballet-master was none other than Josiah Priest for whom Recorded under the auspices of Purcell had written the year before. While little = : | ui : THE MASQUE IN is known of his choreography apart from the names of the dances, it offered an audience eager for spectacular effects a shapely sister cat and Instrumental Music for the Play art to that of the scenic designers. And since the high point of the Or= =a last act is a masque, whose form and content derived from traditions ZQn| ALFRED DELLER HONOR SHEPPARD tightly entwined with the dance, it is only reasonable to expect . = | © soprano | the passepieds, minuets, galliards and canaries serving as mobile niece of Delphia. Since is understandably concerned c= 8| SALLY LE interludes between set songs and choruses. Both Betterton and SAGE MAX WORTHLEY Purcell however realized that the substance of the evening’s en- about a close relative marrying a common soldier, she prophesies s 7 soprano tenor tertainment lay in the text and the music, and to this end Betterton that Diocles will one day be proclaimed emperor, when he has slain trimmed the original play here and there (but without changing the a giant boar. This event takes place in a spendidly heroic scene PHILIP TODD MAURICE BEVAN which is followed by the customary jubilation and rejoicing. But 7 tenor baritone plot) and added verses for the songs, choruses, and final masque. Taking over at this point not only Betterton’s reach-me-down verses, Dioclesian, like the apprentice who has to marry his master’s but in addition the entire paraphernalia of preludes, daughter, now finds himself entangled with Aurelia, sister of the CHOIR AND ORCHESTRA OF THE CONCENTUS ritornels, dances, and symphonies, Purcell set to work in the hope of making late emperor, with the important difference that Aurelia’s attrac- MUSICUS, VIENNA musical sense of an uncommonly variegated collection of artistic tions are such as to eclipse almost completely the charms of Dru- NIKOLAUS HARNONCOURT, director ingredients. That he did so with enthusiastic humility is testimony silla. The prophetess, angered by this unseemly jilting of an in- enough to his integrity as a dramatic composer, which shines nocent niece, now lends a sympathetic ear to a handsome warrior ALFRED DELLER, conduetor through every phrase of the central portion of his dedicatory letter named Maximinian, nephew of Dioclesian. Maximinian’s mind is to Charles, Duke of Somerset: unfortunately racked by love and jealousy: love for Aurelia, and jealousy of Dioclesian’s‘new-found power of office. Side One: The “Musick and Poetry have ever been Masque in Dioclesian (First Part) acknowledg’d Sisters, which This is clearly a cue for the wielding of magical powers, and so walking hand in hand, support each other; As Poetry is the harmony Side Two: The Masque in effectively do Delphia’s spells achieve their aim that the proud Dioclesian (Conclusion) ; Instru- of Words, so Musick is that of Notes: and as Poetry is a Rise above mental Music in the Play (First Music, First Act Tune or emperor is brought to his knees, Aurelia returns to Maximinian, Prose and Oratory, so is Musick the exaltation of Poetry. Both of and Drusilla to Dioclesian. Love has enjoyed his first triumph! and Hornpipe, Dance of the Furies, Second Act Tune, The them may excel apart, but sure they are most excellent when they now it is the turn of Mars. At the head of a huge army, Dioclesian _ Chair Dance, Third Act Tune, Butterfly Dance are joyn’d, because nothing is then wanting to either of their Per- (aided, of course, by the propitiated Delphia) defeats the Persians fections: for thus they appear like Wit and Beauty in the same in a gigantic battle, at the end of which he resigns his crown to Person. Poetry and Painting have arrived to their perfection in Maximinian and vows to spend the rest of his days in peace and our own Country: Musick is yet but in its Nonage, a forward Child, quiet with Drusilla. Still Maximinian is not satisfied, and the chip which gives hope of what it may be hereafter in England, when the iis Prophetess, or the History of Dioclesian, enjoyed a huge and on his shoulder prompts him to an attempt on Dioclesian’s life, an | resounding success in its first season, which took place in 1690 at Masters of it shall find more Encouragement.” attempt which is neatly foiled by the ever-watchful Delphia. the in Salisbury Court, London. Revived time Purcell’s encouragement came from the crowds who flocked to At this point the masque in honor of Dioclesian and Drusilla, a ~ and time again over the years, it was last heard of at Covent Garden see and hear Dioclesian, and from the demands of the musical final triumph of Love in a sylvan setting, begins with a vigorous _. In 1784 until modern performances belatedly helped to re-establish populace for songs, instrumental music, and even full scores. There prelude leading into Cupid’s calling forth the various characters. Purcell’s reputation as a composer of dramatic music. Founded on were enough subscribers to make it worth while for Purcell to have A brief solo and duet serve to prepare everybody for the piéce de one of the old heroic plays of Fletcher and Massinger, Dioclesian a full score engraved, and although its bulk succeeded even his resistance, an elaborately engineered appearance of four magnificent (as the musical version is known) represented the kind of artistic expectations (two printers contributing towards the work involved), palaces and a spacious garden, solemn music playing all the time. . collaboration that was common in the Restoration theatre, ever its publication in 1691 counted as a major musical event. At last Songs, dialogues, trios, choruses, and dances succeed each other in partial to the possibilities of a fantastic marriage of drama, music, the connoisseurs were able to see for themselves how Purcell had brilliant and breathtaking succession, the dithyrambic acclaim of and scenic effects helped out by machinery, dances, animals, and contrived to weld together this straggling succession of pieces “after Bacchus adding a more earthy touch to the idealized sentiments sometimes even birds. The “alterations and additions, after the the manner of an opera”: by means of a cunning balance of tonali- expressed by the rustics. And to end all, the finale, as well as being manner of an opera” were the work of Thomas Betterton, an actor ties, and a logical centering of them on the key of C major, he had sung and played, is danced by everyone on the stage and in the four - and writer whom Charles II had sent to Paris in order to study the been able to lend unity and shape to the most unprepossessing palaces, to “the glory of almighty Love.” Q techniques of opera production. Betterton was evidently impressed farrago ever offered to a serious composer. DENIS STEVEVNS ‘by what he saw of French display and opulence, for he grew to The two characters celebrated in title and sub-title are both Professor of Music, Columbia University _ favor an English adaptation of the French opéra-ballet perfected by Roman, as is the scene of the original play. Delphia, the prophetess, rnin Lully; and a contemporary account of his production tells us that nines ain ania igs cece nc ee is endowed with supernatural powers which she uses to control the This is a VANGUARD QUALITY CONTROL recording, employing especially it was “set out with costly scenes, machines, and clothes, the vocal destinies of four of the principal actors. Diocles (later called by the designed microphones, tape recorders and amplifiers to produce masters which embody a frequency response covering the entire range of human hearing and and instrumental music done by Mr. Purcell, and dances by Mr. royal form of his name, Dioclesian) has shown great prowess in embrace the full gamut of vocal and instrumental sonorities. Although a single- channel Priest: it gratified the expectation of court and city, and got the hunting and shooting, but little interest in the sweeter conquests recording, it is playable not only with any monophonic but also any stereophonic cartridge, and its richness of sound is further enhanced when played author great reputation.” of the alcove. Nevertheless, he is engaged to be married to Drusilla, on a stereophonic system. VANGUARD RECORDING SOCIETY, INC., N.Y. PRINTED IN U.S.A. ee Ll — Llc lrrC*C=*“#

THE MASQUE IN DIOCLESIAN The gay, the sad, the grave, the glad, VIII. DUET (TENOR AND BARITONE). Side Two Shepherdess and Shepherd The youthful and the old, Make room for the great God, Oh! how gladly we believe, Side One All meet as at the day of Doom. XIII. CANARIES—INSTR. The great God of wine— XIV. DIALOGUE (SOPRANO & BAR.). When the heart is too, too willing; I. SOLO (SOPRANO) & CHORUS. The Bacchanals come with liquor divine. Can that look, that face deceive? V. PASPE (PASSEPIED)—INSTR. Shethavt Can he take delight in killing? Call the Nymphs and the Fauns from the IX. SOLO (BACCHUS) TRIO & CHO. Tell "oats me why, my charming fair, VI. DUET (SOPRANOS) | Ah! I die, if you deceive me, woods, I’m here with my jolly crew Tell me why you thus deny me, Yet I will, I will believe ye. Call the Naids and Gods of the Floods; Oh the sweet delights of love, Come near we'll rejoice as well as you. Can despair or these sighs and looks of care Call Flora-and Comus, Silenus and Momus; Who would live and not enjoy them? Give to evry one his glass. Make Corinna ever fly me? Call Bacchus and his merry fellows; I’d refuse the throne of Jove, Then all together clash Tell me why my charming fair, XV. DANCE—INSTR. Silvanus and Ceres and Tellus. Should power or majesty destroy ’em. Drink and despise the politic ass. Tell me why you thus deny me. XVI. AIR (TENOR) & CHORUS. All leave for awhile their abodes. Oh the sweet delights of love, The mighty Jove who rules above Shepherdess All our days and our nights Who would live and not enjoy them? Ne’er troubl’d his head with much thinking, Shall be spent in delights, O Mirtillo! you’re above me, II. AIR (SOPRANO). Give me doubts or give me fears, He took off his glass, was kind to his lass, I respect but dare not love ye. Tis a tribute, that’s due to the young; Give me jealousies and cares; And gain’d Heav’n by love and good Let the Graces and Pleasures repair, She who hears, inclines to sin, Let the ugly and old, the sickly and cold But let love remove ’em, Think the pleasures of love last too long. With the youthful, the gay, the witty and drinking. Who parlays half gives up the town, I approve ’em. Begone, importunate reason, fair, X. DANCE OF BACCHANALS—INSTR. And ravenous love soon enters in, May all harmless delights, Wisdom and counsel is now out of season. XI. AIR (SOPRANO) When once the outwork’s beaten down: Happy days and kind nights, Vil. AIR (SOPRANO) & CHORUS. Then my sighs and tears wont move ye, For ever attend this blest pair. Still I’m wishing, still desiring; Let monarchs fight for power and fame, Still she’s giving, I requiring; No, no Mirtillo you’re above me; XVI. DANCE—INSTR. I respect, but dare not love ye. XVI. TRIO & CHORUS. III. DUET (BASSES). With noise and arms mankind alarm. Yet each gift I think too small. Let daily fears their quiet fright, Still the morn I am presented, Shepherd Triumph victorious love, Come, come away, no delay, And cares disturb their rest by night; Still the less I am contented, Could this lovely, charming maid Triumph o’er the universe! No, no delay, come away! Greatness shall ne’er my soul enthral, Tho’ she vows she has giv’n me all. Think Mirtillo would deceive her? The greatest heroes bow to thee, All know ’tis his will, Give me content and [ have all. (Ritornello—XII) Could Corinna be afraid All nature owns thy deity, Then all show their skill, Hear, mighty Love! to thee I call; Can Drusilla give no more? She by him should be betray’d? Thou has tam’d almighty Jove; yes triumphing day. Give me Astrea and I[ have all; Has she lavish’d all her store? No, too well I love her, Triumph victorious Love! That soft, that sweet, that charming fair, Must my hopes to nothing fall? Therefore cannot be above her. Then all rehearse in lofty verse, Fate cannot hurt whilst I have her O you know not half your treasure; O, let love with love be paid. The glory of almighty Love, Behold, O shty’st of gods, She’s wealth and power, and only she, Give me more, give over measure, My heart, my life, my all I give her, From pole to pole his fame resound; At thy command we come! Astrea’s all the world to me. Yet you can never, never give me all. Let me now ah! now receive her. Sing it, sing it the universe around.

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BG-682-A = z Side One « 22:05 a

1. THE MASQUE IN DIOCLESIAN (First Part) Alfred Deller, countertenor; Honor Sheppard, soprano; &S Sally Sage, soprano; Max Worthley, tenor; Philip 2 d, tenor; Maurice Bevan, baritone Choir and Orchestra of the Concentus Musicus, Vienna Alfred Deller, conductor THE MASQUE IN DIOCLESIAN and Instrumental Music for the Play

Bd, 1 THE MASQUE IN DIOCLESIAN (Conclusion) 16:06)

BG-682-B ) Side Two

Bd. Il. INSTRUMENTAL MUSIC FOR THE PLAY 13:00 E MI First Act T t Tune; d Act Tune; Butterf! Alfred Deller, countertenor; Honor Shep pard Soprano; Sally Le Sag prano; Max Worthley, tenor; Philip Todd, tenor; Maurice Bevan, barit Choir and Orchestra ef the Concentus Musi Alfred Deller, conductor