Suite for harpsichord No. 3 in G major (from "A Choice Collection of Lessons"), Z. 662
Pavan for 2 violins & continuo in G minor, Z. 751
Ground in Gamut for harpsichord in G major, Z. 645
Sonata in 3 parts for two violins, bass viol & continuo No. 7 in E minor, Z. 796
Pavan for 2 violins & continuo in A minor, Z. 749
Fantasy for 3 viols in G minor, Z. 734
Sonata in 3 parts for two violins, bass viol & continuo No. 6 in C major, Z. 795
Fantasy for 3 viols in F major, Z. 733
Sonata in 4 parts for two violins, bass viol & continuo No. 4 in D minor, Z. 805
Chacony, for 4 strings in G minor, Z. 730
Ye tuneful muses (Welcome Ode for Charles II), for soloists, chorus & instruments, Z. 344: Prelude and Ground in C minor ('With Him He Brings the Partner')
Ye tuneful muses (Welcome Ode for Charles II), for soloists, chorus & instruments, Z. 344: Prelude and Ground in C minor ('With Him He Brings the Partner')
Suite for harpsichord No. 7 in D minor (from "A Choice Collection of Lessons"), Z. 668
Fantasia upon a ground, for 3 violins (or recorders) & continuo in D major/F major, Z. 731
Germany's Ensemble CordArte, from Cologne, offers an almost unrelievedly serious hour of instrumental music here in this collection of chamber music by Henry Purcell. It may be difficult listening in a way, but it's an ambitious recording that gives the listener a good idea of the scope of music that is sometimes performed in a rather monochrome way. CordArte mixes up the various genres of Purcell's instrumental music rather than presenting sequences of one genre or another. The aim in so doing is to illustrate the novelty ...
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Germany's Ensemble CordArte, from Cologne, offers an almost unrelievedly serious hour of instrumental music here in this collection of chamber music by Henry Purcell. It may be difficult listening in a way, but it's an ambitious recording that gives the listener a good idea of the scope of music that is sometimes performed in a rather monochrome way. CordArte mixes up the various genres of Purcell's instrumental music rather than presenting sequences of one genre or another. The aim in so doing is to illustrate the novelty of the young Purcell's style (he was in his early twenties when most of this music was written), which drew on influences from Italy, France, and perhaps Germany, while also looking back at the grand tradition of English music in the 17th century. The violin was still a rare instrument in England in 1683, when the set of 12 Sonatas in Three Parts from which several of these pieces are taken was first published. These are vintage Purcell, sober yet lyrical takes on the pre-Corelli...
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