On Realizing the Continua in Purcell’s Songs(1959)

Abstract

Abstract In practically every one of our concerts, given the length of three continents over the last twenty years, Peter Pears and I have included a group of Purcell’s songs. Although they were not included for chauvinistic reasons, it has been nice to find that foreign audiences accept these English songs alongside those of their own great classic song-writers. It is pleasant to get cheers at the end of Purcell’s ‘Alleluia’ in the home of Schubert and Wolf, requests for a repeat of ‘Man is for the woman made’ in the birthplace of Mozart, appreciative giggles at the end of’There’s not a swain of the Plain’ in Faure’s home town, and an impressive silence as the last bars of’Job’s Curse’ die away in Dusseldorf, where Schumann spent many years. And not only in foreign places; in England too where, to our shame, the music of Purcell is still shockingly unknown. It is unknown because so much of it is unobtainable in print, and so much of what is available is in realizations which are frankly dull and out of date. Because all Purcell’s solo songs, secular and sacred, as well as his many big scenas, have to be realized. We have these wonderful vocal parts, and fine strong basses, but nothing in between (even the figures for the harmony are often missing). If the tradition of improvisation from a figured bass were not lost, this would not be so serious, but to most people now, until a worked-out edition is available, these cold, unfilled-in lines mean nothing, and the incredible beauty and vitality, and infinite variety of these hundreds of songs go undiscovered. Therefore over these many years I have myself realized about twenty secular songs (mostly from Orpheus Britannicus), a few sacred songs, four of the big Divine Hymns (from the Harmonia Sacra) and half-a-dozen duets (some taken from the dramatic works reprinted separately by Purcell’s widow in Orpheus Britannicus)-all with piano. I have also realized for other occasions the Golden Sonata, and continua parts of the fine lcome Song of 1687, and Purcell’s masterpiece, Dido and Aeneas, for harpsichord. There is also a sequence of songs, a Suite from Orpheus Britannicus, where I realized the figured bass for strings.