AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020

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AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020 AEM ONLINE Saturday, April 25, and Sunday, April 26, 2020 Join us for AEM ONLINE! Four online class sessions are offered using the Zoom meeting app, or your web browser. Register for any number of sessions, $25 per session. Instructors will be in touch ahead of time with music, Zoom meeting links will be sent out on Friday after registration has closed. All sessions run 90 minutes, with the first 15 minutes for introductions. If for any reason the session doesn’t work for you, we’ll refund your money. Tish Berlin will hold a Zoom tutorial on Friday, April 24, at 4:00 p.m. Eastern/1:00 p.m. Pacific time for any participants who would like help with Zoom. She will send out a meeting link Friday morning to all participants but only those who are new to Zoom or who need a refresher need to join the meeting. If you are an old hand by now you can ignore the invitation. Registration deadline for all classes is Friday by 9:00 a.m. Eastern Daylight Time. SCHEDULE (Eastern Daylight Time) Saturday, April 25, 2020 1:00 p.m. (10:00 a.m. PT) Viol Duets with Ros Morley 3:00 p.m. (12:00 p.m. PT) Introduction to Baroque Opera with Dylan Sauerwald Sunday, April 26, 2020 1:00 p.m. (10:00 a.m. PT) An English Banquet of Song with Emily Eagen 3:00 p.m. (12:00 p.m. PT) Recorder Technique with Aldo Abreu CLASSES: Viol Duets: a tasting menu with Ros Morley Saturday, April 25, 1:00 p.m. Eastern Time (10:00 a.m. Pacific Time) Tired of eating take-out alone? Sign up for this viol tasting menu of 16th and early 17th century duets for tenor and bass viols (treble will be able to play too). Sample musical delights by Gastoldi, Giamberti, Sweelinck, and Mico. Learn about phrasing, fingering and bowing in the context of these delightful duos. Download the music here! Pitch: A = 415. Open to: Viols, intermediate to advanced treble, tenor, bass viols. Introduction to Baroque Opera with Dylan Sauerwald Saturday, April 25, 3:00 p.m. Eastern Time (12:00 p.m. Pacific Time) The Baroque stage is a confusing place. Everyone is dressing up as everyone else, almost nothing is in English, and gods gavotte in and out like they're on Seinfeld. In a whirlwind tour, students will explore the wide and wonderful world of early opera, learning about the styles, ideas, forms, and forces that shaped this magical repertoire. The aim of this course is to give students deeper insight into, and appreciation of, the dazzling and baffling family of operatic genres that form the molten core of Baroque artistic expression. Materials for this class available here for download. We will examine the major styles within Baroque-period musical theater by studying representative excerpts from nine composers: Claudio Monteverdi, Pier Francesco Cavalli, Jean-Baptiste Lully, Henry Purcell, Reinhard Keiser, Georg Friedrich Händel, Jean-Philippe Rameau, Georg Philipp Telemann, and Christoph Willibald Gluck. Open to all! An English Banquet of Song with Emily Eagen Sunday, April 26 at 1:00 p.m. Eastern Time (10:00 a.m. Pacific Time) This class will begin with an invigorating vocal warm up and then dive right into repertoire! We will focus on simple songs (rounds, canons, duets) from the English Renaissance that you can learn either by ear or score and enjoy singing with those at home or with yourself - possibly using the magic of Garage Band! The English Renaissance offers a treasure trove of delightfully witty, achingly lovely, and magically crafted songs that will delight and intrigue you. Emily will share tips for making music with these songs, and share ideas about how to use this repertory to keep expanding both your vocal capacities and your musicianship. Music will be available for download here. Open to: All who like to sing Recorder Technique with Aldo Abreu Sunday, April 26 at 3:00 p.m. Eastern Time (12:00 p.m. Pacific Time) In this class we’ll cover important aspects of breathing, sound production, articulation, and fingering, including correct use of the thumb and double hole technique. Exercises will be drawn from my published technique exercise books: Warm Ups and Technical Exercises, Finger Exercises, Articulation Etudes part I, Articulation Etudes part II, 4 Vibrato Exercises and 4 Sound Control and Silent Breathing Etudes. Open to: Recorders, upper intermediate to advanced. Pitch: A=440. Materials will be available for download here. CLICK HERE TO REGISTER CLICK HERE FOR ZOOM INSTRUCTIONS .
Recommended publications
  • The English Anthem Project the Past Century and a Half, St
    Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists.
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  • Music for a While’ (For Component 3: Appraising)
    H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner.
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  • PROGRAM NOTES Henry Purcell
    PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all.
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  • The Harpsichord Master of 1697
    The Harpsichord Master of 1697 and its relationship to contemporary instruction & playing by Maria Boxall The earliest known attempt (in England) to transmit and help to them, Entituled, An Introduction to knowledge concerning the playing of keyboard the Skill of Musick, which doth direct them to instruments by means of the printed word was understand the Gamut, and by it the places and made exactly a century before the publication of the names of their Notes, &c. But as for the true Harpsichord Master 1. In that year (1597) there was Fingering and severall graces used in the licensed to be printed by one William Haskins 'A playing of this Instrument, it cannot be set down playne and perfect Instruction for learnynge to play in words, but is to be obtained by the help and on ye virginalles by hand or by booke both by Directions of Skilfull Teachers, and the constant notes and letters or Tabliture never heretofore sett practice of the learner, for it is the Practick part out . .'. Such a book would almost certainly have crowns the Work.' included some music. If so, the claim of the famous However a later, further expanded edition of Parthenia of 1612/13 to be 'the first musicke that ever 1678 has a different subtitle: 'New lessons and was printed for the virginalls' could not have been Instructions for the virginals or harpsychord' and in correct 2. It seems probable, however, that Haskins the preface we read: never made use of his licence, for although the 'It has ever been my opinion ,that if a man made any book would undoubtedly have been popular, and discovery, by which an Art or Science might be the playing technique it presumably described - that learnt with less expence of Time and Travel, he was of the English virginalists (as can be reconstructed obliged in common Duty to communicate the from their manuscripts) - did not become seriously knowledge thereof to others ...' 'Many of those who outmoded during the following century, no copies bought the former impression of Musicks Hand- survive.
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  • Appendix: Catalogue of Restoration Music Manuscripts Bibliography
    Musical Creativity in Restoration England REBECCA HERISSONE Appendix: Catalogue of Restoration Music Manuscripts Bibliography Secondary Sources Ashbee, Andrew, ‘The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time: Studies in English Consort Music (Oxford: Clarendon, 1996), 243–70. Ashbee, Andrew, Robert Thompson and Jonathan Wainwright, The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 2 vols. (Aldershot and Burlington: Ashgate, 2001–8). Bailey, Candace, ‘Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177’, Royal Musical Association Research Chronicle, 32 (1999), 119–35. ‘New York Public Library Drexel MS 5611: English Keyboard Music of the Early Restoration’, Fontes artis musicae, 47 (2000), 51–67. Seventeenth-Century British Keyboard Sources, Detroit Studies in Music Bibliography, 83 (Warren: Harmonie Park Press, 2003). ‘William Ellis and the Transmission of Continental Keyboard Music in Restoration England’, Journal of Musicological Research, 20 (2001), 211–42. Banks, Chris, ‘British Library Ms. Mus. 1: A Recently Discovered Manuscript of Keyboard Music by Henry Purcell and Giovanni Battista Draghi’, Brio, 32 (1995), 87–93. Baruch, James Charles, ‘Seventeenth-Century English Vocal Music as reflected in British Library Additional Manuscript 11608’, unpublished PhD dissertation, University of North Carolina at Chapel Hill (1979). Beechey, Gwilym, ‘A New Source of Seventeenth-Century Keyboard Music’, Music & Letters, 50 (1969), 278–89. Bellingham, Bruce, ‘The Musical Circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, Journal of the Viola da Gamba Society of America, 19 (1982), 6–71.
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  • Dido & Aeneas – Opera by Henry Purcell
    Dido & Aeneas – Opera by Henry Purcell On a rainy and cool Sunday afternoon, numerous members and friends of our Association found their way to the Salle Laetitia in Ixelles. A brightly lit and nicely decorated hall set the stage for a lovely musical performance. Charlotte Messiaen, member of the Hungarian group, conducted a concert version of the opera Dido & Aeneas, performed by the vocal ensemble ‘Artemiss’ and Chelsae string consort. This is the only opera written by the baroque composer Henry Purcell between 1683 and 1688. It consists of a prologue and 3 acts. Purcell and his librettist Nahum Tate based the work on an episode in Virgil’s Aeneid, the ancient Roman epic about the Trojan prince, Aeneas, after the fall of Troy. In Act one, after escaping from Troy, Aeneas and his men set sail for Italy, where he is destined to find Rome. Blown off course to Carthage on the northern shore of Africa, Aeneas falls in love with Dido, Queen of Carthage. The act ends with general rejoicing. In Act two, the evil Sorceress and her witches are intent on destroying their happiness. To trick Aeneas into leaving Dido, Sorceress, disguised as Mercury, reminds Aeneas of his destiny in Rome and commands him to leave Carthage. Dido and Aeneas realize that they must separate. In Act three, as the fleet is being prepared to leave, the wicked Sorceress and her witches celebrate their victory and sing of their delight. Dido and Aeneas sing the famous duet ‘Away, away! No, I stay- Away, Away!’ When Aeneas realizes that he must leave, Dido is embittered and broken hearted, she knows she cannot live without him.
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  • ENGLISH BAROQUE with CIRCA 1 Magical Spell of the Night English Baroque with Circa
    CREATIVE TEAM 2019 Paul Dyer AO Artistic Director Yaron Lifschitz Artistic Director, Circa CANBERRA INTERNATIONAL Benjamin Knapton Associate Director MUSIC FESTIVAL Libby McDonnell Costume Design Llewellyn Hall Peter Rubie Lighting Design Thursday 2 May 7:30pm Yaron Lifschitz, Libby McDonnell, Richard Clarke Set Design SYDNEY This Production premiered on 2 May 2019 at Llewellyn Hall as part of City Recital Hall the Canberra International Music Festival. Wednesday 8 May 7:00pm Friday 10 May 7:00pm CHAIRMAN’S 11 Saturday 11 May 2:00pm Proudly supporting our guest artists. Saturday 11 May 7:00pm Concert duration approximately 90 minutes with no interval. Please note Wednesday 15 May 7:00pm concert duration is approximate only and is subject to change. Friday 17 May 7:00pm We kindly request that you switch off all electronic devices during the performance. MELBOURNE Melbourne Recital Centre Saturday 18 May 7:00pm Sunday 19 May 5:00pm BRISBANE QPAC Tuesday 21 May 7:30pm A Baroque wig: Paul Dyer’s first inspiration image for the series. ENGLISH BAROQUE WITH CIRCA 1 Magical Spell of the Night English Baroque with Circa PRELUDE Alex Palmer English Overture SCENE ONE – THE COURT Henry Purcell Curtain Tune from Timon of Athens, Z 632 John Dowland Behold a Wonder Here from The Third and Last Booke of Songs or Aires Henry Purcell Overture from King Arthur, Z 628 Henry Purcell Aire from King Arthur, Act II, Z 628 Henry Purcell Hornpipe from King Arthur, Act III, Z 628 Henry Purcell How Blest are Shepherds from King Arthur, Act II, Z 628 Henry Purcell 3 Parts Upon a Ground, Z 731 SCENE TWO – THE BEDROOM Henry Purcell Overture in C minor, Air in C minor, The Triumphing Dance from Dido & Aeneas, Z 626 Henry Purcell Ritornelle in D minor, Thanks to these lonesome vales, Dance in D minor from Dido & Aeneas, Z 626 George Frideric Handel Gentle Morpheus, son of night from Alceste, HWV 45 SCENE THREE – THE CHAPEL Arcangelo Corelli Concerto grosso in D major, Op.
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  • Purcell's Early Years Background Henry Purcell Is Believed to Have Been Born in 1659 Near Westminster Abbey in London England
    webpage1 Page 1 of 2 Purcell's Early Years Background Henry Purcell is believed to have been born in 1659 near Westminster Abbey in London England. Henry's parents are believed to be Henry the court composer, Senior, and his wife Elizabeth. Little is known about our hero's childhood, as might be suggested from the speculation over his origins. Many of the following statements are based on related facts that given time and place, may be used to hypothesize the specifics of where and what Henry was doing at a specific point in time. Henry Senior and his brother Thomas were both actively involved as court musicians in London. Henry Senior died early, likely as a victim of the plague that devastated much of London in 1666. Thus, Thomas Purcell, our hero's uncle, had more influence on the early years of the young musician than did his father. Thomas must have exposed Henry to music thus prompting Henry's mother, Elizabeth, to send her son off to become a choirboy in the Chapel Royal: "Elizabeth Purcell was a single mother on a limited incomeso the opportunity for one of her boys to be given a decent education, clothed and fed must have been most welcome." (King, 59) It was common for a boy between the ages of eight and nine to become a chorister and continue his training until puberty when the voice began to break. Probable Training In 1668 at the age of about eight Henry became a member of the boy's choir at the Chapel Royal under the supervision of Henry Cooke, Master of the Children.
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  • Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal Segal
    THE CATHEDRAL OF ST JOHN THE EVANGELIst HELEN D. SCHUBERT CONCERts CLEVELAND OHIO Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal SEGAL BETH Ross W. Duffin, Artistic Director Friday, 6 October 2017 The Cathedral of St John the Evangelist Most Reverend Nelson J. Perez, Bishop of Cleveland Reverend Sean Ralph, Administrator Mr Gregory Heislman, Director of Music Quire Cleveland Ross W. Duffin,Artistic Director Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal All Works by Henry Purcell (1659–1695) Please hold your applause until the end of each half. I will sing unto the Lord (Psalm 104) Jehova quam multi sunt hostes mei (Ps. 3) Blow up the trumpet in Sion (Joel 2) Beati omnes qui timent Domini (Ps. 128) Remember not, Lord, our offences (Litany) Funeral Sentences Man that is born of woman (Job 14) In the midst of life (Book of Common Prayer) Thou knowest, Lord (BCP) — intermission — O God, thou hast cast us out (Ps. 60) Lord, how long wilt thou be angry (Ps. 79) Miserere mei Thou knowest, Lord, the secrets of our hearts (BCP) O Lord God of Hosts (Ps. 80) Hear my prayer (Ps. 102) Save me, O God (Ps. 54) O be joyful in the Lord (Jubilate) (Ps. 100) I was glad (Ps. 122) About Quire Cleveland Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage.
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  • Purcell King Arthur Semi-Staged Performance Tuesday 3 October 2017 7Pm, Hall
    Purcell King Arthur semi-staged performance Tuesday 3 October 2017 7pm, Hall Academy of Ancient Music AAM Choir Richard Egarr director/harpsichord Daisy Evans stage director Jake Wiltshire lighting director Thomas Lamers dramaturg Ray Fearon narrator Louise Alder soprano Mhairi Lawson soprano Reginald Mobley countertenor Charles Daniels tenor Ivan Ludlow baritone Ashley Riches bass-baritone Marco Borggreve Marco Rosie Purdie assistant stage director Jocelyn Bundy stage manager Hannah Walmsley assistant stage manager There will be one interval of 20 minutes after Part 1 Part of Barbican Presents 2017–18 Part of Academy of Ancient Music 2017–18 Generously supported by the Geoffrey C Hughes Charitable Trust as part of the AAM Purcell Opera Cycle Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight marks the second instalment in a directly to a modern audience in the Brexit three-year series of semi-stagings of Purcell era. The subject of national identity – works, co-produced by the Barbican and central to King Arthur – has never seemed Academy of Ancient Music. Following a more pertinent. hugely successful Fairy Queen last season, AAM Music Director Richard Egarr and This piece contains some of Purcell’s stage director Daisy Evans once again most visit and beautiful music – including combine in this realisation of Purcell’s the celebrated aria ‘Fairest isle’ – and King Arthur.
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  • Orlando Gibbons - Poems
    Classic Poetry Series Orlando Gibbons - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Orlando Gibbons(1583 - 1625) One of the last great polyphonic english composers, Orlando Gibbons was the last of four sons of a family of musicians. Born in Oxford in 1583 to William Gibbons, who was appointed a wait at Cambridge in 1567, Orlando soon became heavily involved in church music. His eldest brother, Edward was a priest vicar at Exeter Cathedral where a few of his compositions still remain. Ellis, another brother, managed to have two madrigals published in Thomas Morley's collectin o 1601, The Triumphs of Oriana. Orlando surpassed them all. In 1695 at the age of 12 he became a chorister at King's College Cambridge. At King's he was continuously envolved in the music of the royal College, and a few times he recieved money for compositions written for special occasions. In 1606 he achieved his Bachelaureate in Music, after being appointed organist to the Chapel Royal at the age of 21; a position he retained for life. By 1622 Gibbons star was on the rise, and he was awarded an honorary Doctorate of Music from Oxford. Later that same year he was appointed organist at Westminster Abbey. There he presided over the funeral of James I. While returning to London with his Majesty, Charles I from Dover, Gibbons died in Canterbury on June 5, 1625. He is buried in Canterbury Cathedral. Of Gibbons seven children, only one Christopher seemed to have inherited his fathers passions for music.
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  • Purcell, Locke, Blow & Gibbons
    b0087_WH booklet template.qxd 17/04/2017 17:13 Page 1 The English Concert Harry Bicket Rosemary Joshua Sarah Connolly Purcell, Locke, Blow & Gibbons b0087_WH booklet template.qxd 17/04/2017 17:13 Page 2 The English Concert Harry Bicket director, harpsichord, organ Rosemary Joshua soprano Sarah Connolly mezzo-soprano Recorded live at Wigmore Hall, London, on 10 March 2015 Matthew Locke (c.1622–1677) Suite from The Tempest (1674), Part 1, Nos. I–V 01 The First Musick: Introduction 00.54 02 The First Musick: Galliard 01.19 03 The First Musick: Gavot 00.46 04 The Second Musick: Saraband 03.31 05 The Second Musick: Lilk 00.46 henry PurceLL (1659–1695) 06 If music be the food of love Z379b 1st setting/1st version (?1691/2) 01.58 07 Draw near, you lovers Z462 (1683) 03.51 08 Oh! the sweet delights of love 01.50 (a duet for the two Wood-Gods) from Dioclesian Z627 (1690) Matthew Locke Suite from The Tempest Part 2, Nos. VI–XI 09 The Second Musick: Curtain Tune 04.18 10 The Second Musick: The First Act Tune ‘Rustick Air’ 01.08 11 The Second Musick: The Second Act Tune ‘Minoit’ 00.43 12 The Second Musick: The Third Act Tune ‘Corant’ 01.00 13 The Second Musick: The Fourth Act Tune ‘A Martial Jigge’ 01.14 14 The Second Musick: The Conclusion ‘A Canon 4 in 2’ 01.48 2 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 3 henry PurceLL 15 Music for a while from Oedipus Z583/2 (?1692) 03.57 16 Oh! fair Cedaria hide those eyes Z402 (?c.1689–92) 04.05 17 My dearest, my fairest from Pausanias, the Betrayer of his Country Z585 (1695–6) 02.07 John BLow (1649–1708)
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