ClassicsOnline Home » PURCELL: Theatre Music, Vol. 1 - Amphitryon / Sir Barnaby Whigg / The Gordian Knot Unty'd / Circe > Review List



PURCELL: Theatre Music, Vol. 1 - Amphitryon / Sir Barnaby Whigg / The Gordian Knot Unty'd / Circe

Composer(s):Purcell, Henry
Artist(s)
Period(s) Baroque (1600-1750)
Genre Classical Music
Category Orchestral
Catalogue 8.570149
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


Written mostly during the last five years of his life, Purcell’s Theatre Music is a rich and varied collection of some of the composer’s finest melodic inspirations. They include solemn overtures, cheerful and sad songs, as well as delightful dances, either incorporated into the action of the play or performed as preludes and interludes. This first volume of the series includes many gems such as the erotic musical diversion in Amphitryon which takes the form of a Pastoral Dialogue betwixt Thyrsis and Iris, the amorous shepherd begging for, and finally being granted, his heart’s desire; and the series of dances in The Gordian Knot Unty’d, the most delightful of which are the Rondeau, Minuett and the final Chacone.


   




Review By Andrew Stewart,Classic FM,May 2008

Mallon’s latest Naxos series sets high artistic values from the off, powered by the music-making’s unbridled joyfulness and a delicious feel for Baroque excess.




Review By David Denton, Naxos,March 2008

Naxos here announce the opening of a highly ambitious series containing the complete theatre music by Henry Purcell, a composer prolific in his output of incidental music for dramatic presentations in the second half of the 17th century. Purcell was only twenty when he was given the prestigious post of organist in London’s Westminster Abbey, and from therein to his untimely death in 1695, he divided his time between working in the service of the royal family and the commercial theatre in London. He was acknowledged as one of the great Baroque composers, yet seemed quite happy to work on two different levels. On the one hand we have his very serious compositions for the church and opera house, while at the same time he was writing populist works for the theatre. The present

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