Philippa Hyde, The Parley of Instruments, Peter Holman - Musical London, c1700 (From Purcell to Handel) (2011) [Hi-Res]

Tracklist

01. Romulus and Hersilia: Where art thou, God of Dreams?
02. Trio Sonata in G Minor: I. Adagio
03. Trio Sonata in G Minor: II. Canzona: Allegro-Adagio-Presto
04. Trio Sonata in G Minor: III. Adagio
05. Trio Sonata in G Minor: IV. (Minuet) -
06. Trio Sonata in G Minor: IV. Vivace-Adagio
07. Tell me, some pitying angel, Z. 196, "the Blessed Virgin's Expostulation"
08. Creep Softly, Purling Streams
09. Suite in D Minor: I. Preludio. Prestissimo
10. Suite in D Minor: II. Fuga in fantasia: Presto
11. Suite in D Minor: III. Grave: Adagio-Prestissino-Adagio
12. Suite in D Minor: IV. Ground per fa la mano: Allegro
13. For rural and sincerer joys: I. Overture: Grave-Allegro
14. For rural and sincerer joys: II. Recitative. For rural and sincerer joys -
15. For rural and sincerer joys: III. Air. Damon, for song and fight renown'd -
16. For rural and sincerer joys: IV. Ground: His arms and voice o'er all Prevail
17. Suite in D Minor: I. Overture: Slow-Brisk
18. Suite in D Minor: II. Minuet
19. Suite in D Minor: III. Almain: Slow
20. Suite in D Minor: IV. Corant
21. Suite in D Minor: V. Two in One on a Ground
22. Behold, where Venus weeping stands (Venus and Adonis), HWV 85 [reconstructed by P. Holman]: Recitative. Behold, Where Weeping Venus Stands!
23. Behold, where Venus weeping stands (Venus and Adonis), HWV 85 [reconstructed by P. Holman]: Aria. Dear Adonis, Beauty's Treasure
24. Behold, where Venus weeping stands (Venus and Adonis), HWV 85 [reconstructed by P. Holman]: Recitative. Thus, Queen of Beauty
25. Behold, where Venus weeping stands (Venus and Adonis), HWV 85 [reconstructed by P. Holman]: Aria. Transporting Joy
26. Sonatas for 2 Violins in D Major, Op. 3, "Smallcoal": I. Vivace
27. Sonatas for 2 Violins in D Major, Op. 3, "Smallcoal": II. Adagio
28. Sonatas for 2 Violins in D Major, Op. 3, "Smallcoal": III. Allegro
29. Sonatas for 2 Violins in D Major, Op. 3, "Smallcoal": IV. Adagio
30. Sonatas for 2 Violins in D Major, Op. 3, "Smallcoal": V. Presto
31. Have Mercy Upon Me, O God: Sonata: Largo-Andante
32. Have Mercy Upon Me, O God: Recitative. Have Mercy Upon Me, O God
33. Have Mercy Upon Me, O God: Aria. Wash me Thoroughly from my Wickedness
34. Have Mercy Upon Me, O God: Recitative. Against Thee Only have I Sinned
35. Have Mercy Upon Me, O God: Aria. Behold, I was Shapen in Iniquity
36. Have Mercy Upon Me, O God: Aria. Thou Shalt Purge me with Hyssop
37. Have Mercy Upon Me, O God: Aria. Thou Shalt Make me Hear of Joy and Gladness
38. Have Mercy Upon Me, O God: Aria. Thou Shalt Open My Lips, O Lord
39. Have Mercy Upon Me, O God: Aria. Alleluia



The late seventeenth century was a period of great change in English music. This was a time when the influences of Italian music were ever-increasing, brought to England by Italian composers such as Draghi, Haym and Matteis, and their German contemporaries Pepusch and Handel. In this new release we explore how the English composers, Purcell, Weldon and Croft, responded to Italian music and incorporated the style into their own works. The two works by Purcell, Sonata in G minor and The Blessed Virgin’s Expostulation, perfectly illustrate his mastery of the Italian style. This is especially evident in the latter, which Purcell wrote in the style of an Italian cantata.

This distinctive blend of English and Italian influences also became evident in the works of many European composers in England, as they adopted the native English style and form. In fact the English legacy can be heard in the music of Draghi, Courteville, Matteis, Handel, Pepusch and Haym, almost as clearly as in the music of their English contemporaries. Draghi’s sonata is a prime example of this, it seems to have been influenced by English consort music, and its short, contrasted sections and unexpected harmonies are far removed from the sonatas composers were writing in Italy at the time.

The works on this release are performed by Peter Holman’s early music group, The Parley of Instruments, which today is recognised as one of the leading exponents of Baroque music. The Parley’s trail-blazing work in English eighteenth-century music has led to collaborations with soloists such as Catherine Bott, Crispian Steele-Perkins and Elizabeth Wallfisch. On this release, the group is joined by soprano Philippa Hyde, with Peter Holman, conductor and founder of the Parley of Instruments.

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