Tír Na HiFi

This really is a great thread Simon, well done. I do not have a copy of Purcell's work I will have to get one or two now, you have really sparked my curiosity.

I particularly like the Soul of the World section. I like its beautiful and somewhat ethereal opening and the Taverner Consort do a lovely job with their beautiful, homogenised harmonies throughout. I also like its jaunty rhythms. As you point out the contrast between the two different sections is also very effective and enjoyable.


I like the extended introduction to Thou Tund’st This World but then I particularly like the sound of oboes. I know that lots of people do not particularly like the voice of Emma Kirkby but I do and I think that her voice is very suited to this music and that she does a lovely job on my recording. Yes the structure is simple but I think effective and pleasantly engaging as is the lilting rhythm. I find this section to be reminiscent of some sections of a JS Bach cantata.

Oooh, that would be a triumph indeed, Seán! You should be able to pick something up relatively cheaply, and obviously I think it would be worth your while. I'd certainly love to hear your views.

I'm glad people are reading and getting something out of the thread. I must admit I'm finding it more difficult than I expected to get the job done, but I'm learning a lot myself in the process. For what it's worth, most of my posts are coming from examination of the score rather than listening to CDs, and that's not what I was expecting at all.

Fergus, thank you for staying there with me!

Diapason wrote: I'm glad people are reading and getting something out of the thread. I must admit I'm finding it more difficult than I expected to get the job done, but I'm learning a lot myself in the process. For what it's worth, most of my posts are coming from examination of the score rather than listening to CDs, and that's not what I was expecting at all.

Fergus, thank you for staying there with me!

Cheers Simon.
I think that your pacing of the thread is just fine. It gives plenty of time for reflection and assimilation! As I have said before I prefer the approach that you have taken over the straight "book" examination; it makes for a more interesting and personal survey methinks.

fergus wrote:I know that lots of people do not particularly like the voice of Emma Kirkby but I do and I think that her voice is very suited to this music and that she does a lovely job on my recording. Yes the structure is simple but I think effective and pleasantly engaging as is the lilting rhythm. I find this section to be reminiscent of some sections of a JS Bach cantata.

I also love Emma Kirkby, and lots of times I've bought recordings merely because her name has been on the cover. As you say, I know many don't like her (including my soprano friend) but I love the sound she makes.

I had never thought of this section as being reminiscent of a Bach cantata, but now that you say it I absolutely see and hear what you mean. Bach just wrote so well for the oboe!

fergus wrote: As I have said before I prefer the approach that you have taken over the straight "book" examination; it makes for a more interesting and personal survey methinks.

Actually, I'm glad it's worked out this way as well, not least because a full musicological description of this probably wouldn't be too helpful to anyone.

Isn't it difficult, though, to describe what it is about music that you like? Ultimately, as much as I flag bits that I consider clever, or well-worked, or interestingly done, I can't help but think that I really like this because I just love the whole sound-world.

In fact, and this is a complete tangent, I'd nearly go as far as to say that I struggle with romantic music because as orchestras got bigger, for me the sound-world got paradoxically more monochrome. It's a funny thing to say, but until I "know" a large romantic orchestral piece well, the actual sound of the orchestra is a barrier for me. I assume that for some listeners, the general "sound" of this work is a bit off-putting, and it's hard to know what to say there.

Now that we're beyond the half-way point, I wonder would those who have tried it but didn't like it consider sharing their thoughts? I know it's as hard to say what you don't like as it is what you do, but I'd really love to hear a few dissenting voices as well. I promise I won't be insulted!

Diapason wrote:
Isn't it difficult, though, to describe what it is about music that you like? Ultimately, as much as I flag bits that I consider clever, or well-worked, or interestingly done, I can't help but think that I really like this because I just love the whole sound-world.

In fact, and this is a complete tangent, I'd nearly go as far as to say that I struggle with romantic music because as orchestras got bigger, for me the sound-world got paradoxically more monochrome. It's a funny thing to say, but until I "know" a large romantic orchestral piece well, the actual sound of the orchestra is a barrier for me. I assume that for some listeners, the general "sound" of this work is a bit off-putting, and it's hard to know what to say there.

I am with you on this Simon which is why my taste has always been and still is rooted in the Baroque and Classical eras. Of course I like Romantic music but it is not my preferred sound world.

Good to know I'm not alone, Fergus!

Another of my favourite sing-a-long-a-Purcell numbers, and one which deals with a subject close to my heart, Wondrous Machine was probably the first movement to really grab me when I first heard the piece as a Leaving Certificate candidate. It's the second ground bass to appear in the work and what a good one it is too, chugging away (like a machine if you will!) for the duration of the bass solo. The oboes provide the accompaniment, and I think they are a perfect foil for the bass voice.

It's probably safe to say that in 1692 the organ's pre-eminence among musical instruments went a little more unquestioned than it does today. After all, this was before the Industrial Revolution, and organs and clocks were about the most complicated items made by mankind. The pure, unwavering tone of the organ was greatly admired, and it wasn't just our librettist who felt that the pipes were inspired by angels. Churches often held the view that the organ was the only instrument appropriate for worship, something that continues today in many cases. But if the organ is top of the heap, Mr Brady can't help detailing other instruments' failings, and the first one to take a slagging is the lute.

The bass enters very strongly, moving up the notes of the E minor chord while repeating "Wondrous". There's no tonal ambiguity here, no remote keys, and the effect is very grounded and solid. To 21st century ears, it's pretty difficult to imagine the lute as being "used to conquest", and I don't really think of it as "warbling" either, but you can't argue with Purcell's marvellous word-painting! The repetition of "forc'd" on the 2nd, 3rd and 4th beats of the bar has a punching, percussive effect before the oboes take up the theme to close out the opening section. The key centre of the ground bass changes for "with thee unable", although the same "warbling" figure is used once again in an extended flourish at the highest notes in a bass's range. A few more changes of key lead us back to a recapitulation of the opening, and that's your lot! The organ stands tall and the lute is suitably embarrassed.

It is well-documented that Purcell had a renowned bass at his disposal by the name of Mr John Gostling, and he was used to writing challenging bass works. One of the most famous is the anthem They That Go Down To The Sea In Ships, which opens with an amazing opening run from D above middle C to the D two octaves below that, and has a few more of those subterranean bottom D's for good measure. This is *not* something I'd be singing along to at home! It's nothing to do with this piece, but it's on youtube here:

Diapason wrote:The next movement, With That Sublime Celestial Lay*, stands at something of a thematic turning-point within the text, where we move from the rarified territory of celestial spheres and the laws of nature to the more practical, earthly considerations of different musical instruments. This contrast is wonderfully represented here: two countertenors singing interweaving, florid, melismatic lines represent the heavenly or celestial, and a lone bass represents the earthly. Without any accompaniment other than the continuo, it's amazing how effectively the bass's answer contrasts the countertenor's question "can any earthly sounds compare?" The dialogue gives the effect of a human conversing with heavenly angels, and this hints at what's to follow in the text, where we're told that "Cecilia oft convers'd with heav'n" in a short but beautiful contrapuntal section featuring all three singers. Another hint at what's to come is the shift to E minor for the bass singing "from heav'n its wondrous notes were given". Once again, there is the sense of the earthly breaking into the heavenly, as we hear a little snippet of the rhythm and feel of Wondrous Machine which is to follow.

Although we are dealing with the large concept of an earthly body conversing with celestial angels I do like the rather intimate setting of this section. Nothing is really overplayed or overstated where one would have thought that it was an opportunity to bring out the trumpets and timpani with a flourish! I particularly like the harmonies of the two countertenors.

Diapason wrote:Another of my favourite sing-a-long-a-Purcell numbers, and one which deals with a subject close to my heart, Wondrous Machine was probably the first movement to really grab me when I first heard the piece as a Leaving Certificate candidate. It's the second ground bass to appear in the work and what a good one it is too, chugging away (like a machine if you will!) for the duration of the bass solo. The oboes provide the accompaniment, and I think they are a perfect foil for the bass voice.

As if to emphasise the dominance of the organ we are treated in the Parrott version to 3:45 minutes of Purcell’s Organ Voluntary in D minor as a preamble or introduction to this section.
Don’t you just love the jaunty rhythm based on that ground bass and the double oboe accompaniment? The melody itself is a very fine one I think and one can see why it would be one of Simon’s sing along numbers!