Purcell - Birthday Odes for Queen Mary / Burrowes · Bowman · Brett · Lloyd · The Early Music Consort of London · Munrow

Purcell - Birthday Odes for Queen Mary / Burrowes · Bowman · Brett · Lloyd · The Early Music Consort of London · Munrow

Purcell - Birthday Odes for Queen Mary / Burrowes · Bowman · Brett · Lloyd · The Early Music Consort of London · Munrow
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CD Details

Composer: Norma Burrowes
Edition: Music CD
Format: Import
CD Release Date: 2002-12-23
Music Label: EMI Import
Soundtracks:
  1. Come Ye Sons Of Art: Symphony: Largo - Allegro - Adagio
  2. Come Ye Sons Of Art: Ritornello, Verse & Chorus: Come Ye Sons Of Art
  3. Come Ye Sons Of Art: Verse: Sound The Trumpet
  4. Come Ye Sons Of Art: Ritornello & Chorus: Come Ye Sons Of Art
  5. Come Ye Sons Of Art: Verse & Ritornello: Strike The Viol
  6. Come Ye Sons Of Art: Verse & Chorus: The Day That Such A Blessing Gave
  7. Come Ye Sons Of Art: Verse: Bid The Virtues
  8. Come Ye Sons Of Art: Verse: These Are The Sacred Charms
  9. Come Ye Sons Of Art: Verse And Chorus: See Nature, Rejoicing
  10. Love's Goddess Sure: Symphony
  11. Love's Goddess Sure: Verse And Ritornello: Love's Goddess Sure
  12. Love's Goddess Sure: Verse: Those Eyes, That Form, That Lofty Mien
  13. Love's Goddess Sure: Verse: Sweetness Of Nature
  14. Love's Goddess Sure: Verse And Chorus: Long May She Reign
  15. Love's Goddess Sure: Verse And Ritornello: May Her Blest Example
  16. Love's Goddess Sure: Verse And Ritornello: Many Such Days
  17. Love's Goddess Sure: Chorus: May She To Heaven
  18. Love's Goddess Sure: Verse And Chorus: As Much As We Below Shall Mourn

Music reviews of Purcell - Birthday Odes for Queen Mary / Burrowes · Bowman · Brett · Lloyd · The Early Music Consort of London · Munrow

Music Review: Early period performance
Rating: 4 Stars

In the mid-70’s two recordings of Purcell’s Ode “Come Ye Sons of Art” were made in London, with a number of musicians from the burgeoning early music scene appearing in both productions. David Munrow’s version, plus “Love’s Goddess Sure”, was produced at the Abbey Road studios in June 1975, being performed with period instruments. John Eliot Gardiner recorded the ode and the Funeral Music for Queen Mary for Erato Records at Rosslyn Hill Chapel in February 1976 (the disc has been re-released at budget price on Warner’s new Apex label). Among the soloists, it was countertenor Charles Brett who sang at both sessions, joining James Bowman on the Munrow disc and taking the role of the first countertenor (assisted by John Williams) on the Gardiner. The choir of the Early Music Consort includes well-known names such as David James, Rogers Covey-Crump and Paul Elliott (all to become regular members of the Hilliard Ensemble); the choir has countertenors instead of altos and sings without a good deal of vibrato, in contrast to Gardiner’s Monteverdi Choir, which at that time was not the period performance choir it is famous as today. Both recordings both wonderful instrumentalists: the Munrow has Simon Standage, Monica Huggett, Catherine Mackintosh, Duncan Druce and Micaela Comberti among the violins; Trevor Jones is one of three viola players, and Munrow uses bass viols (and a violone) instead of Gardiner’s double bass and has Christopher Hogwood marvellously playing the organ in the continuo (and some lovely oboe playing by Anthony Camden and Tess Miller). On the Gardiner, the Monteverdi Orchestra, not yet become the English Baroque Soloists, uses modern instruments, but with players such as Trevor Pinnock, harpsichord, and Barry Guy, double bass. Gardiner’s “Funeral Music” is performed with the Equale Brass Ensemble which includes Michael Laird on the trumpet and David Corkhill on the timpani (as on the Munrow recording).

Taken as a whole, there is little to choose between both recordings, despite some considerable differences. Gardiner takes the opening symphony at a very relaxed tempo, but then proceeds to outstrip Munrow on all the sung numbers. The modern instruments and the rather obvious vibrato of choir and soloists dampen my enthusiasm for the Gardiner somewhat, although I think he has the edge as far as sound quality is concerned. But Munrow’s soloists are definitely more appropriate, and James Bowman’s countertenor is here unbeatable. Personally, I also prefer Norma Burrowes as soprano here, because her voice seems lighter and more airy than Felicity Lott’s. The basses on both recordings (Robert Lloyd on the Munrow, Thomas Allen on the Gardiner) are rather stentorian; I would have preferred a less aggressive baritone.

All in all, if I had to choose, I think I would go for the Munrow rather than the Gardiner, but it is certainly worth making the comparison. In any case, both recordings are now nearly 30 years old, so one cannot expect them to sound quite like what they would do if they had been recorded a quarter of a century later.
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