) Gnawa wie Nes fy 10303 ” Book three y i 4, Stainer & BellHenry Purcell Songs edited by Peter Wishart and Maureen Lehane CONTENTS Book one (ISBN 0 85249 323 1) Lord, what i Man Sweeter than rose ‘What shall o to show how much I ove her? Since trom my dear Dear prety youth Book two (ISBN 085249 324 X) Dido's ament Ab! now aweet it to lve From rosy bows “The fatal nour comes on apace ark! how all ings with one sound Book thre (ISBN 0 85249383 5) 1 atempt fom love's sickness 1 fy [Nymphs and shepherds Evening hymn Prous Celings On solitude! Psa upon the dogstar This new edition of Parcel songs coincides ith the withdrawal of Twenty Favourite Songs amd includes man of he works comand i hat ve STAINER & BELL LTD 82 High Road, London N2.9PW GALAXY MUSIC CORPORATION 131 West 86 Street, New York, NY 10024 © 1976 Stainer& Bell Ls = is 0 as » 2 a * a 2 x0 Daw Lote INTRODUCTION A publicationlike this ought to be unnecessary, at this time. Ifevena third of Purcell vocal and other works were easily and cheaply obtainable in a respectably accurate edition (like virtually all the keyboard works of Bach have been for many years, put ‘out by various publishers), there would be less reason for dissatisfaction. AS itis, very few of Purcells songs are so available, with an accompaniment which is not only in his ‘harmonic and contrapuntal style but at all imaginative. Usually they are neither. One recent scholarly publication even gives an altered bass in a famous song. Yet there are few English people, and probably fewer foreign musicians who would make the claim. for any other composer to be our greatest. We have chosen for these three books sixteen varied songs which we like, though we certainly do not claim that these are necessarily the greatest. Several we have omitted. because the orchestral prelude is such an important part ofthe song that to play it on the piano would be pointless, and would take up far too much space. For similar reasons we have omitted those which require 4 chorus, In short, these are songs suitable for recitals; some are very well known, while others will be new to many singers, 1 ‘rue tex While we believe the texts are accurate and faithful, no attempt has been made to present an Urtext, The texts of most of the songs have been drawn from Orpheus Britannicus and Harmonia Sacra, though we have consulted other sources where there were obscurties. ‘ REALISATION In most casesall that we have from Purcell is the voice part and a bass, with occasional figures. Sometimes (as in ‘Dido's lament’ or ‘Hark! how all things with one sound rejoice’) Purcell has left us some string parts which give us an authentic harmonisatior. Elsewhere we have realised the bass using a familiarity with Purcell’s style gained over many years of loving study and performance. It might be said here that a sparsely figured bass does not, as some scem to think, give one the opportunity to use a keyboard style, and indeed a harmonic language, derived from twentieth ‘century practice. There is no longer any need for Purcell's basses and harmony to be altered wholesale, even in the name of imaginative performance. The bass and top Parts imposg their style on the rest, just as much as if Purcell had figured them ‘completely. Those who have a real knowledge of Purcell's style will, no doubt, simplify oF complicate as they think fit. Others should leave well alone, as Purcel’s style is extremely idiosyncratic and hard to imitate. Keys (Original keys are given in the footnotes where they differ from those chosen, which are, on the whole, those which suit our performance. There is even less virtue insticking rigidly to Purcell's keys (except where specific instruments are to be used) than in, say, German Lieder; the composers of the latter were not above altering technical awkwardnesses arising out of transposition, which showed that they expected it, Indeed it was an economic necessity for them. ‘Accidentals which are editorial suggestions are set small in front of the note. NOTES ON PERFORMANCE Recitative In Purcell’s time this isnot like the later recitativo secco. It should be sung, so that the pulse is discernible, though the short notes should hardly ever be exactly equal or rigid. This does not mean that a long stretch of recitative should all bein the same tempo, and we have usually suggested desirable changes. ‘Changes of time These present some problem to the modern performer as the old methods derived from prolation are now forgotten by most musicians. We have therefore suggested tempo relationships, and the performer can choose an overall tempo which feels comfortable. Breathing Occasional marks are put in where there seems need. Otherwise breathing should depend, naturally, on the words. Phrasing and dynamics One of the most important things in the performance ofthis music is to try to hear where the rhythmic and phrasing accents are. The terms ‘ist beat’ (Since from my dear’, Book one) and ‘second beat? music (parts of “Hark !how all things with one sound rejoice’, Book two) are useful. Very often springing rhythm can be obtained by shortening the note previous to the accent (as suggested in ‘Sweeter than roses’, Book one, in the accompaniment to bars 35 to 39). ‘Where dynamics are concerned so much depends on the room, the singer, and the individual conception that we have put in a minimum of marks. All such marks, phrasing and speed indications are our suggestions and the performer is free to go his own way with due regard to style. Occasionally, however, some indicationsare printed in bold roman type, and these distinguish Purcell’s own marks. Dotted notes _ For much longer than many people realise, a dot after a note signified an unspecified lengthening. No double dot existed in Purcell's day and the use of a triplet mark over two notes ofa triolet (actual compound time apart)is so rare that tis almost an impossibility. Therefore considerable freedom is permitted, and the jerky double-dotting often heard in Purcell performance (in the name of correct style) is sometimes not only unmusical but unstyistic to boot. These dotted note runs are, as often as not, a notation in a simple time for triplet groups. The performer must also realise that a dotted crotchet, in a passage containing dotted quavers, will probably need to be lengthened to fit the general rhythm. ‘Sometimes rhythmic alterations are put above the stave; these, of course, are editorial suggestions. Ormamentation This is a difficult question, and on the whole we have not added any ‘ornamentation except in repeated passages. It ought to be said however that the notion of performing musicas it stands on the page is a very modern one and certainly would have been thought odd in the late seventeenth century. The following abbreviations have been used; their interpretation given here is rhythmically approximate. Written: Performed: A Pianoforte and harpsichord Until there isa harpsichord (let alone a chamber organ) in every place where people perform, and a cellist in addition to the harpsichord in rooms of any size at all (particularly remembering that the accompanying harpsichords of Purcell's day had even less bass than most modern instruments, and certainly had a0 16° stops), the pianoforte -will continue to be used as an accompaniment to Purcell’ songs. These are piano accompaniments, but can be transferred to the harpsichprd or organ easily engugh; experience or experiment will Buide the player to adapt where necessary. It will sometimes be found that a large ‘modern piano will serve best ifthe lid is shut down and the desk placed on top, Held bass notes intended for the organ (e.g. ‘Lord, what is man’, Book one) which cannot sound Jong enough on a piang, may have to be repeated, It is worth reiterating, however, that the two things which Purcell eft are the voice and the bass parts, and they should both be heard, so that harpsichord without a bass ‘to match the voice and no cello (viola da gamba or whatever) isan insult to Purcel's art, Introductions In those songs where there is no introduction (the majority), a simple tonic chord is the best beginning, though sometimes the last line of the song will do. Sex of singers _In Purcell’ day people were indifferent to the sex of the singer, and. many of Purcell's most passionate men’s songs (as far as the words tll us) would have been sung by women or, indeed, boys. So ladies need not feel bashful about performing these. We hope that experienced professional singers who may use this volume will not be offended by our simple directions for performance. They will surely know that beginners are often frightened off composers like Purcell because they have simply no idea where to start in the interpretation of them. They mayehowever find the collection useful in other ways Perer WISHART a9 MAUREEN LEHANE Frome, Somerset, 1976.1 ATTEMPT FROM LOVE'S SICKNESS TO FLY Sir Rober Howard == Henry Puce 7 ‘Allogetio (el na ba) voice 1 at tempt from loves eg, eta ements ae i iad nul ep a fa oa a ma at pe | RSS theory poring doen, Teens esp cape aa a | ‘Souces Tendon Queer and Ores Brecut Ongaal bey Amo Deon ese ABas more pow’, and CrNYMPHS AND SHEPHERDS sty, ls sport and pay, spor and, Thoms Shade == Honey Pre . voce KEYBOARD Wi, this bo hho = diy, this is = sho = fe ores, lathe roweslet'ssport— and —— ‘Note _Ty tft hone el pop pom hal enon of iti nly i elas ponte. Opi tha yon ho reset st of tact, anyon met fate on he ae eng a 0 sot a8 {SSN RE bac tng ofa log la ood ee” Rel at nema fo Sweet The Liber sed Oh Brame | @eamancn sae tt atYour Noeks iy ow, Dy Whis_you ex = press, rympbe —andshep — herds arrEVENING HYMN Waa ater == ey Pac ‘voice KEYBOARD |, manta Saut tween, og vik mt ein Te 0 on 0, | SStomai: eswl stodan ew ond beth seen = et epreant Hibe sae pe gains |_ itp oman Sn temas rasour pnt nie pcs sine sete nr OH 9 Sous Harmon Sem Oakey Gm Dcomnptioe sion Att at to the sft, Bsingprise The mer~ ey that —0tal = e- h, fal = te ta ian ft - feta jah, PIOUS CELINDA atu Conger =sS Hey Pac Wore KEYBOARD ee ee = THRERS GS ee fool's in —_—— F CA aes tear you jt sei ling lb quan ety of tl aout hae: Vr lel yi 0 Deh uth mate onde tein then hal a Hap sn oh pte ue Somce Orpen Britney Dir, Scone Suen smn20 Wen she be = eves when she be wou's she cow's — a2 B OH SOLITUDE! | voice KEYBOARD tu = mult, and rom. noise, How yomy st = . 2 i an 5 NN {rump here therein unsere arya onan ged aa Etta whoa he ae Suc Ore tami it ton A Sang on 2 Groen’ Ong key Cine @eomi eS ba| 2s To look to-éey asfiesh and green, tolook to — oo = etiweet = eat chose Heavene! As shen theirnenvtes To. see thom test which have spars fromthe ma ew ty Ain which st oeWeick unenap = py woul we, a their = Whentheir tard head (are ——makes_____ them en = dure, Sich woes, ick DES — Were. I have lean’ where I pave lest A =-poloslore, Without the pains, the pals —_ : Be ~ caweit needs mnt hin = dere — i i ee sown, Withwhatthy serving thee. fn thy30 TLL SAIL UPON THE DOG-STAR “Toms Duey == eney Parcel voice FUL ypen the dog = star KEYBOARD sall upon the dog-star_ And thenpur-sue the mom ing, and then pursuxané then purse the eS ee a7 letase——the--moon alt be eon, 1 cg th emt be ls eit nt at Suse A Foo Pferen wl haw Bua, Oral ey Cm eons Se a ttt sain bow romihe shy, An i, e 3 e acon Dut 'Imakemakeher_lesve.ter hom in the rainbow fromtnesky, atte botnends t= gether| ‘THE ENGLISH SONG SERIES | THOMAS ARNE: Songs for High Voice 1 Bas) | THOMAS ARNE. Songs for High Voice I B62 ve stars fromthsirorbs too, thestarspluckfromtheirorts too And JOHN BLOW: Ten Songs 3547 Spar apres ee eee am WILLIAM BOYCE: Ten Songs for High Voice 3493 “ FRANK BRIDGE: Four Songs B19 GEORGE BUTTERWORTH: Folk Songs fom Sussex & other Songs B332 GEORGE BUTTERWORTH: Eleven Songs from'A Shropshire Lad’ B333 i SONGS OF THE LINLEYS 8569 JOHN DOWLAND' Fifty Songs Book I (High Voice) XSA JOHN DOWLAND: Filty Songs Book I (Low Voice) xsB } JOHN DOWLAND: Fifty Songs Book II (High Voice) X6A JOHN DOWLAND: Fifty Song: Book II(Low Vote) Xo EARLY GEORGIAN SONGS | Basg : EARLY GEORGIAN SONGS Il 3460 Hl PETER WARLOCK: Thireen Sones 080 JOHN ECCLES: Eight Songs B63 IVOR GURNEY: Ludiow and Teme 3502 rowdtham Ia my budget, IVOR GURNEY: The Western Playland = * BSO! = JAMES HOOK: Fight Songs for High Voce 3494 { CHARLES STANFORD. Six Songs for Mediim Voice 3525, | STEPHEN STORACE: Sever Songs or High Voice 3510, FREDERICK DELIUS: Ten Sones Bist GUSTAV HOLST: Twelve Humben Wolfe Sones 030 JOHN IRELAND: ThedLand of Lost Content and otter Sones 3320 i JOHN IRELAND: Elevenones Boo NICHOLAS LANIER: Six Sones : Bass HENRY PURCELL: Vocal Ducts Reis HENRY PURCELL: Vocal Duets 4130 i HENRY PURCELL: Songs! B33 : HENRY PURCELL: Songs Il p 3325 | HENRY PURCELL, Sone IIL B33 i C.HURERT PARRY: seven Songs for High Voice 3525, | ROMANTIC SONGS | B78 ROMANTIC SONGS Ir 3579 } ROMANTIC SONGS IIt B80 i SYDNEY CARTER’ In the Present Tene 25068 ' SYDNEY CARTER: In the Present Tense IL 3508 SYDNEY CARTER: In the Present Tense it 35078 SYDNEY CARTER: Inthe Present Tense IV 3098 i SYDNEY CARTER: Inthe Present Tense V 8500 i The Songs ot TONY BIGGIN and ALEC DAVISON 3504 | LESLIE EAST. Three Betieman Songs B23 i BERNARD STEVENS: Four John Donne Songs 3627 RESTORATION DUETS Book | 3629 GEOFPREY BUSH: Elght Songs for Medium Voice 3630 i FOLK SONGS FOR VOICE AND HARP 3637 RESTORATION DUETS Book It B66 ARTHUR SULLIVAN: Songs Book 1 Bess CYRIL B. ROOTHAM: Songs Book I 2633 ARTHUR SULLIVAN: Songs Book I 2666 ERIC THIMAN: Thirteen Sones B66 ARTHUR SULLIVAN: Songs Book IIt 3682 MARTIN SHAW: Seven Songs 3167 STAINER & BELL LIMITED