Henry Purcell - Hail! Bright Cecilia ~ Ode to St. Cecilia Z.328 | Текст песни

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• Hail! Bright Cecilia ~ Ode to St. Cecilia Z.328

Henry Purcell
Hail! Bright Cecilia ~ Ode to St. Cecilia Z.328
Symphony (overture): Introduction – Canzona – Adagio – Allegro – Grave – Allegro (repeat)
Recitative (bass) and chorus: Hail! Bright Cecilia
Duet (countertenor and bass): Hark! hark! each tree
Air (countertenor): 'Tis Nature's voice
Chorus: Soul of the world
Air (soprano) and chorus: Thou tun’st this world
Trio (alto, tenor and bass): With that sublime celestial lay
Air (bass): Wondrous machine!
Air (countertenor): The airy violin
Duet (countertenor and tenor): In vain the am’rous flute
Air (countertenor): The fife and all the harmony of war
Duet (two basses): Let these among themselves contest
Chorus: Hail! Bright Cecilia, hail to thee

Kate Eckersley, soprano
Nicholas Clapton, countertenor
Richard Wyn-Roberts, countertenor
Andrew Tusa, tenor
Peter Harvey, bass
Simon Birchall, bass
Fiori Musicali, Choir and Orchestra on authentic instruments
Penelope Rapson director

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed by Henry Purcell to a text by the Irishman Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint's feast day (22 November) began in 1683, organised by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.
Brady's poem was derived from John Dryden's A Song for St Cecilia's Day in 1687, which suggested that Cecilia invented the organ. With a text full of references to musical instruments, the work requires a wide variety of vocal soloists and obbligato instruments. Brady extols the birth and personality of musical instruments and voices, and Purcell treats these personalities as if they were dramatic characters. The airs employ a variety of dance forms. \"Hark, each Tree\" is a sarabande on a ground. It is a duet on a ground-bass between, vocally, soprano and bass, and instrumentally, between recorders and violins (\"box and fir\" are the woods used in the making of these instruments). \"With That Sublime Celestial Lay\" and \"Wond'rous Machine\" are in praise of the organ. \"Thou tun'st this World\" is set as a minuet. \"In vain the am'rous Flute\" is set to a passacaglia bass. In spite of Brady's conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, two oboes (called hautboys), strings and basso continuo.