Donald Macleod explores Purcell’s sacred writing amidst the ongoing political tension surrounding Charles II's illegitimate son the Duke of Monmouth, who had designs on the throne, backed by Parliament’s Whigs.

This week of programmes sets Purcell’s work during his short life in the context of the turbulent times in which he lived. This was a period of intense political and social change, encompassing three different monarchies, the plague, the great fire of London, and the arrival of another deadly pandemic.

From his entry into Charles II’s court in 1679, Purcell wrote no stage work for six years. His primary job was to write welcome odes for the King’s return visits to London. And yet his own personal life was also at its most tumultuous. Married in 1680, Purcell lost his first newborn child the following year, along with his uncle Thomas Purcell in 1681, himself a composer at the court.

Charles II’s death in 1685, and his successor James II’s overhaul of the Chapel Royal with foreign musicians, led to a musical gear shift for Purcell, who decided to write devotional songs instead of religious anthems.

Morning Service in D, Z232: Te Deum
Trinity Hall Chapel Choir, Cambridge
Andrew Arthur, director

Rejoice in the Lord alway, Z49 “Bell Anthem”
Daniel Collins, tenor
George Pooley, tenor
Ben Davies, bass
The Sixteen
Harry Christophers, conductor

Lord, What is Man? Z192, "A Divine Hymn"
Gabrieli Consort and Players
Paul McCreesh, conductor

Thou wakeful shepherd, Z98 "A Morning Hymn"
Elin Manahan Thomas, soprano
David Miller, lute

Now that the sun hath veiled his light, Z193, "An Evening Hymn on a Ground"
Michael Chance, countertenor
Fretwork

Morning Service in D, Z232: Jubilate Deo
Christ Church Cathedral Choir, Oxford
Francis Grier, organ
English Concert
Simon Preston, conductor

Produced by Iain Chambers Show less