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| 1. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Symphony | |||
| 2. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Fly, bold rebellion, make h | |||
| 3. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Rivers from their channels | |||
| 4. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: If then we've found the wan | |||
| 5. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: But Heaven has now dispelle | |||
| 6. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Come then, change your note | |||
| 7. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Be welcome then, great Sir, | |||
| 8. Fly bold rebellion (Welcome Ode for Charles II), for soloists, double chorus, strings & continuo, Z. 324: Welcome to all those wishes | |||
| 9. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: Symphon | |||
| 10. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: Sound t | |||
| 11. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: Crown t | |||
| 12. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: Let Cae | |||
| 13. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: What gr | |||
| 14. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: Chaconn | |||
| 15. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: While C | |||
| 16. Sound the trumpet, beat the drum (Welcome Ode for James II), for 2 altos, tenors, basses, chorus, strings & continuo, Z. 335: To Uran | |||
| 17. Celebrate this festival (Birthday Ode for Queen Mary), ode for 5 soloists, double chorus, 2 oboes, 2 trumpets & continuo, Z. 321: Sym | |||
| 18. Celebrate this festival (Birthday Ode for Queen Mary), ode for 5 soloists, double chorus, 2 oboes, 2 trumpets & continuo, Z. 321: Cel | |||
| 19. Celebrate this festival (Birthday Ode for Queen Mary), ode for 5 soloists, double chorus, 2 oboes, 2 trumpets & continuo, Z. 321: Bri | |||
| 20. Celebrate this festival (Birthday Ode for Queen Mary), ode for 5 soloists, double chorus, 2 oboes, 2 trumpets & continuo, Z. 321: 'Ti | |||
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Most Helpful Customer Reviews
5 of 7 people found the following review helpful:
5.0 out of 5 stars
Purcell would have been pleased,
By A Customer
This review is from: Purcell: Complete Odes and Welcome Songs Volume 3 - Fly, bold rebellion; Sound the trumpet, beat the drum; Celebrate this festival (Audio CD)
The first ode on this CD - Fly bold rebellion - is one of Purcell's earliest odes. But it already shows the characteristics of Purcell's brand of vocal chamber music: vocal movements over a walking ground bass, followed by intricate string ritornelli, and imitative choruses with creative use of counterpoint. The highlight of this ode is the alto solo Be welcome then, great Sir (Bowman). The next ode - Sound the trumpet, beat the drum - was written somewhere between 1685 and 1687. Don't expect to find the famous alto duet "Sound the trumpet" here. That duet comes from Come ye sons of art (King included it in vol. 8 of his series). This ode starts inventively with a duet in which the line "Sound the trumpet" belongs to an alto and the line "Beat the drum" to the bass. A small chaconne included in the middle of the ode is a special delight. In fact, it was so successful that Purcell later reused it in King Arthur. A major winner is the alto duet "Let Caesar and Urania live" sung by Bowman and Covey-Crump (Did you ever notice how similar Bowman and Covey-Crump sound, especially when Covey-Crump means to sing alto?). The last ode - Celebrate this festival, written in 1698, was one of the numerous works Purcell wrote for Queen Mary. It is unusually long and richly scored. Especially effective is the 8-part chorus near the end of the ode.
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