Purcell - Songs - Vol I - Edition Gaillard

8/6/2019 Purcell - Songs - Vol I - Edition Gaillard

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Henry Purcell

Songs

edited by Peter Wishart and Maureen Lehane

CONTENTS

Book one (ISBN 0 85249 323 I)

Lord, what is Man

Swee ter t han r os es

What shall I d o to show how much I love her ')

Since from my dear

D ear p re tt y yout h

Book two (ISBN 0 85249 324 ~

Dido's lament

Ah ! h ow sweet it is to love

F rom r osy bow 'r s

The fatal hour comes on apace ~Hark! how all thing s with one sound rejoice

Book three (ISBN 0 85249 383 5)

I attempt from lov e's sickness to fly

Nymphs and shepherds

Evening hymn

Pious Celinda

Oh solitude!

I 'l l sa il u pon t he dog -st ar

. .

5

15

20

25

29

Also edited by Peter Wishart:

'MESSIAH' ORNAMENTED

Solos from Handel's 'Messiah'

with stylistic embellishment

Stainer & Bell Ltd

5

9

12

23

28

4

8

12

19

22

30

Thisnew edition of Purcell'ssongs coincides with the withdrawal of Twenty

Favouri te Songs and includes many of the works contained in that volume.

GALLIARD

STAINER & BELL LTD

82 High Road, LondonNz 9PW

GALAXY MUSIC CORPORATION

2121 Broadway, New York, NY 10023

© 1976 Sta iner & Bel l L td

,.



INTRODUCTION

A publication like this ought to be unnecessary, at this time. If e ven a third of Purcell's

voca l 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 va rious publ ishe rs) , the re would be less r ea son for d issat is fact ion . As i t i s, very

few of Purcell's 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 of the 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 a chorus. In short, these are songs

suitable for recitals; some are very well known, while others will be new to many

singers,

THE TEXT

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 obscurities.

REALISA nON

In most cases all that we have from Purcell is the voice part and a bass, with oc casional

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

ha rmonisat ion . E lsewhere we have real ised the bass us ing a fami liar ity wi th Purce ll' s

style ga ined over many years of lov ing s tudy and pe rformance. Itmight be said here

that a sparsely figured bass does not, as some seem 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 impose 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 or complicate as they think fit. Others should leave well alone, as Purcell's

style is extremely idiosyncratic and ha rd 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. Indee d 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 is not like the later recitativo secco. Itshould 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 be in 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 a need. Otherwise

breathing should depenq, naturally, on the words.

Phrasing and dynamics One of the most important things in the performance of this

music is to try to hear where the rhythmic and phrasing accents are. The terms 'first

beat' ('Since from my dear', Book one) and 'second beat' music (parts of 'Hark! how

a ll th ings wi th one sound re jb ice', Book two) a re use fu l. Ve ry often springing rhythmcan be obta ined by shorten ing the no te previous to the accen t (a s sugges ted 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 rega rd to s ty le . Occasional ly, howeve r, some indica tions a re pr in ted

in bold roman type, and these distinguish Purcell's own marks.

Dotted notes For much ionger 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 of a triolet (actual compound time apart) is s o rare that it is

almost an impossibility. The refore 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 unstylistic to boot. These dotted note runs are, asoften 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.

Ornamentation This is a difficult question, and on the whole we have not added any

ornamentat ion excep t in repeated passages. It ought to be said however that the

notion of performing music as it stands on the page is a very modern one and certainly

would have been thought odd in the late seventeenth century. The following

. .



abbreviat ions have been used; their interpretation given here is rhythmica lly

approximate.

Pianoforte and harpsichord Until there isa harpsichord (letalone a chamber organ)

in every place where people perform, and a cellist in addit ion to the harps ichord in

rooms of any size at all (particularly remembering that the accompanying

harpsichords of Purcell's day had even less bass than most modem instruments, and

certainly had no 16' stops), the pianoforte will continue to be used as an

accompaniment to Purcell 's songs . These are piano accompaniments, but can be

transferred to the harpsichord or organ easily enough; experience or experiment will

guide the player to adapt where necessary. It will sometimes be found that a large

modem piano will serve best if the lid is shut down and the desk placed on top. Held

bass notes intended for the organ (e.g. 'Lord, what isman', Book one) which cannot

sound long enough on a piano, may have to be repeated.

It isworth reiterating, however, that the two things which Purcell left are the voiceand the bass par ts , and they should both beheard, sothat harpsichord without a bass

to match the voice and no cello (viola da gamba or whatever) isan insult to Purcell's

art.

Introductions In those songs where there isno introduction (the majority), a simple

tonic chord is the bes t beginning, though sometimes the las t l ine of the song willdo.

Sex of s ingers In Purcell 's day people were indifferent to the sex of the s inger, and

many of Purcell's most passionate men's songs (as far as the words tell us) would have

been sung by women or, indeed, boys. So ladies need not feel bashful about

performing these.

We hope that exper ienced profess ional singers who may use this volume will not be

offended by our simple d irec tions for performance . They will sure ly know thatbeginners are often frightened off composers like Purcell because they have simply no

idea where to star t in the interpretat ion of them.

They may however f ind the collect ion useful in other ways.

PETER WISHART MAUREEN LEHANE

Frome, Somerset, 1976.

5

LORD, WHAT IS MAN

William Fuller Henry Purcell

Slow

• VOICE

II

-U II·

Lord. what is man, lost man, t hat t hou should'st

I'llil ~ -.u lJ- -:i ji- ":-

'& - _ -

•

1\ - 5 -iii· . . . . . ,.

- - -e so mind-ful of ?!im' Lord, what is man. j los t' man, tha t thou should' st

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be so rnind-ful of him! that the Son of God for-soak his glo - - ry. his a -

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~ F ' • ~

,4 <T ---

Not es T he f ir st s ec ti on o f t hi s c an ta ta s ho ul d b e t re at ed a s r ec it at iv e, a ccompani ed r ec it at iv e. b ut n ev er th el es s r ec it at iv e. Col ou r. c ol ou r.

c ol our t he w or ds . Th e voc al lin e a lr ea dy pa in ts a n e xqui sit e pi ct ur e a nd it is u p to the s ing er to- exp lo it thi s to t he f ull: lo ok at th ose b ars

c on tr as ti ng 'wo rm and 'Go d' . T he t ri pl e t ime s ec ti on r eq ui re s s omet hi ng d if fe re nt , l es s d rama ti c, f lowi ng and mel li fl uo us . Don 't r ac e

a he ad a t th e e nd wit h th e Ha ll eluj ah; it i s s ur el y a qu ie t a ff irm ati on of f aith ,

Source Harmonia Sacra, " AD ivin e Hymn' . Or igi na l ke y G m inor . Dr Wil li am Fu ll er wa s Lo rd B is hop o r L in co ln .

@Copyright 1976 Stainer & BellLtd.,



6

10fl .. - -@) - - '--

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what is man,

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me, for me, 0 _ _ wond-rous Love!_ . fo rL me, and that for

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me, for me 0 __ wond-rous Love!_ for_ me.

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120

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SWEETER THAN ROSES

Thomas Norton Henry Purcell

Lento

VOICE

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Sweet - - e r t han ro - - ses, or

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1

Notes The problem here isto givethe picture of utter ecstasy: you don't actually mention what issweeter than roses until bar 16, whichissurely a signthat you are in love. Within the discipline of the notes, the feeling must appear freeand spontaneous, but the rhythm

must remain. Nosuchproblems after 'Then shot like fire' , and the final section isa shout ofjoy.

Sources Pausanias and Orpheus Br i t ann icu s.

© Copyright 197~ Stainer & BellLtd



16

10/I - -) - - ~

TO - ses.c, or ccol.L,., cool __ ev' - - - ning

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"25

t.! -ll.all, all o'er, then shot like tire all, all, all, all , then shot like fire

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~ - ---- - - - - rious L love,

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For all, all, all I touch, all,- rious_ love,

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19

55_d_j j_Jt_ __. . . . . . .~

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all, all, all I touch or see; Since that dear.>

~ri ~ - >~ _- r

f) ...__j. I '1 $ - $ - . . r .". n I~ r. r - - : : :~.

- - • - ~ . .- 60

dear _hour-ly, hour-Iy_ prove.

-All. all, all.iss

65~ .-f)

all is love, all, all, all,all, all , all is love, a ll , a ll , a ll . a ll , all is love.

".---..._

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70~

is love to

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•all, all. all, all, all is love. ~_ me.

- - = - - - - * -:1 ." .. ____

.,..__--------=--------



20

WHAT SHALL I DO TO SHOW HOW MUCH I LOVE HER?

Beaumont and Fle tche r Henry Purcell

VOICE

1\

~What shall I do to show how __ mueh_ l_

1\ I

f) I i Lr UL.Ji LT .i~EYBOARD I

51\ . . -f)

-ove her? How rna - ny mil - l ions of sighs

L

can suf -

1\ I

f) r 1' " ~- .- i r w I I r f Ii i~r

.

101\

~-fice? That which , wins L 0 - thers' hearts ne - ver_ can L

Il I I --= I I

f)

i ~ . . .~ r r I W

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-&.

Notes This song, perhaps almost more than any other inthe present collection, repays reading. knowing and feeling the words: watch outfor emphases in the poem, and then relate these to Purcell 's setting. Colour the words: 'melt ' with along 'rn': "implore' with lots of 'pl". andperhaps the section beginning 'Since gods ' could berather more conversational - more pointed - than languishing. The young man issurelynot too melancholy about his love; in fact the lines beginning 'till for her own sake' are positively humorous.

Sources Dioclesian and Orpheus Bntannicus.

@Copyright 1976 Stainer & Bell Ltd

21

1\ . . 15 -~

move her, Those com - mon me - thods of love __ she'll de -

1\ I -eJ I r i r q r ~ ~r:

.

1\ I - --t.r

-spise. [ will love more than man e'er.L; lov 'd __ be -

1\ - ~ r""a I

-~

1 w r u 1 r w

- . . . ~

-20

1\ --~ -fore me; Gaze on her all the day, and_ rnelt .L an the

1\ -. I Ii ~ I -~ r ' - - . . .r I I I I ~f

- -- -

25Il

Vnight; • Till for her own sake. at

1\ ,- r-"""':!! o J J I I

:

~ r I~ I~ ~1/1-

,.



22

II -e!

last she'U_ im - plore me To__ love her

II ~ - ~

e! r W I r I I

"I ~. " • •

- ~

30 -I •:

e! -- -ess_ to pre - serve __ our de - light. Since L gods them

II iI I I,

:

e! I I r r - . . q y. . . ,-6'- I :. J . '. . . .:

- ~ 35II L

Ie !_ selves could not e - ver__ be_ lov - - ing,

II I J I. ..

eJ .. . - . . _ . . .I -'" r

:

II .- -e!

Men __ must have ___ b reat h- i ng re - emits__ for new

Il I I, ,- I

e!

i I - r _U r

23

40/I

eJ - -oys; I wish_ my___ love could be

II I ~ I -eJ r I r ~ _

_~

:

45II •

eJ - -- ver_ im - prov - ~ ing, Though __ CJ - ger

/I

e! r ~7~r . . . ~t q r ~ . . . - ,... .-= i

I~

_ t L L - -eJ -

love __ more tlliiL._ J sor - row de - stroys.

.e : I Ii ~ I

:eJ [ Ii V LJ

II I--

-

50

- -I - I

. . ,In _._ fair __ Au - re - lia's arms leave __ me___ ex -

II I I - I

e! I I r I ~ r. . .

-.-



242 5

" I=-"!

e) - - -pir - ing,____ To be em - balm'd ___ by the __

" --e) r r r ..-

~ r ~r. -

-

SINC E FR OM M Y DEAR

Beaumont and FletcherHenry Purcell

Andante (slow Iina bar )

VOICE "e) -ince from my dear,_ my dear, __ my dear, __

" ~ ~__l 1---"'" -

i ' ~ I I I I I I,....j r ~ , _-- -r='> - - - . . . . .

55

". . . .

~To ___ the last ___weets __ of her breath;

"..

e) -. J q r ~ ~ ~ ~ r - G f f =-..J

:

-. J

KEYBOARD

5

60

Il .

eJ ,

-ince from my dear, my door,__ my dear, my

"----. ./" "'j_ ~ - - - -

eJ

f ~ I > ~ . J . __l r ~ I I

~_._-- - - - - -

-

" -eJ -

mo - ment_ I'll__ stili be__ de - sir - ing; ___

" "I J - - ~

e) I I.....l r - "I r I

.- ~:

- ~

10

" •:

Ie) --e - ver___ had he - ro so__ glo - rious a death.

" I ~ ~ I I I I

~ ~.

:

I I I L . . . . . . . : : : l

" . . • I . _ , .

- -

1L "\

~ -dear, my dear___ As - tre - - a's sight I

_/l~1 ~ ~ -

h : I r r ~I · r

1

,

- - - --

N o te s A n ot h er i nc r ed ib le e xa m pl e o f P u rc el l' s b ri ll ia n ce a t p ai nt in g w o rd s i n m u si c: h is t r ea t me n t of ,my d e ar , my d e ar ' i s s o a f fe c t in g .

a s i s t h e d ro p o n 'to mo ur n '. a nd n ot ic e p ar t ic u la rl y ' bl ee di ng ' i n b ar s 3 9 t o 4 0. G o in g b ac k, w h y n o t s ho rt e n t h e f ir st s yl la bl e o f ' ne ve r '

a l i tt le m or e e ac h t im e t o g iv e e m ph as is . a nd y ou w il l n o ti ce our s ug ge st io n f or t h e p er fo rm a nc e o f t h e w o r d ' ru d el y' ; t h is i s n o rm a lst ylistic practice.

Sources Dioclesian and Orpheus Britannicus.

@COPYrigh t 1916 .!tainer & BeULtdc,



2 6

F1, etc 15

"tJ . .

was so rude - - - - -

"1 " " " " ' - - . . . . . . . . . _ - - - -

tJ I U '--~T ~'--l~

- -- . . . . . .,.............b

:

......__ -20

" --tJ -- ly torn, My soul__ has ne - ver, ne - ver,

" - 1

IeJ 1 r ~-& ~ ~-Q ~1 ~

-:

- -- ~

Fl. n" - ~

~de - li ght , Une - v er. has L ne - ver, ne - ver, ne - ver known -

",..--..

1- 1. . . . . . . .

f.}

fI ~ ~ I~ r 1$ ~

-: -

'" '

{

25,. , . . . ,

tJ -Iess it were__ to mourn.Lie; to

"~I _l_ I

~ ~ 1

-eJ ~~ rCJ ,_ - : r r

1

- ..------

-~

2 7

30

"\Ii I -f.}

less, less,_oum, __ un - un - it_ were to_

fl -~ ~ , . . . . - - - . . . . . ~- 1 - -tJ 1 r ~ qre_; r r r r f-----..-

"~

T 4

It 35.,

tJ -ourn. mourn. But ~h!__ a - las.__ a -

_ . f J _ - - - . . . . ~I

l ~ :.g' 4 ~.. . . .

i 1 1 6 ' " '

"

, ..___

,. ,

tJ - -las, __ with weep - ing_ eyes, And bleed - ing,

,. , - - I - - - I . - - 10 . . . . . . . . . . 1 L . . . . . . . . . -

l~ I I L . . . . . r r 1-=p~r

- - - ...----- -

40fl -tJ .J

,bleed - ing_ heart 1 __ _ lie; Think - ing on

..Ii ~

f.} r "!' r r r r 1 i- r ~? J~...--

:

- - --,J

-..__..-c,



2 8

45II

tJ

her, on her___ whose ab - - sence 'tis That

fI ~ ~ . . . - - - . . , - - I -tJ -9 \ - r t #j r

resco

...-...

- - - -1----

- - - - -~ , . . . _ _ _ _

50II

tJrnakes L wish die , __me to die , __

II ----I I I I ~I 0-

i tJ ~ ,I

dim. -

- - - - :.-

55II -

I tJ •die, __ die, __ makes __ me, makes __ me

3

II r-==--... - ~ I~

tJ r . . . r ~ .- r-. -

F -

_ . .4 "! .......

. . . _ _ _ _ . .

fI

tJ. .

wish to die, __ die, __ die. __

I' J".---......._ - - -==. - - - -

tJ . . - t J ; ~ ~ ~ ~ ~~ ~

:

-d .

29

D EA R PRE TTY YOU TH

Thomas Shadwell

Allegretto

II

VOICE

tJ

II

tJ

KEYBOARD mf

Henry Purcell

-- -- -.-.-Dear, dear

~. . . . - - - - ./ - . . . . .

I' ---_.

--.

5

pret-ty, pret - ty youth, pret-ty, p ret -t y, p ret - t y

II..

' " " i Tyouth, un - veil, up - v eil your eyes, un - veil, un - veil your

II.. _ , , - - - . . _

-~

. . . - - - . . ,

--:::=--..

tJ r . ~'---.-- . r 7 FC!rmf P

':------' - - - - ..--

Notes How many tone colours can you employ? - because here isyour chance: beguiling, reproachful, senSUOUSnd lots ofecho effects , afeature of the period. Useplenty of coquettish confidence when singing this delightful song. We think the young lady knows she 's got her

man anyway.

Source Orpheus Britannicus, •Asongin the Tempest, sungby MissCross '. Original key A major.

@)Copyright 1976 ~tainer &BeULtd '0



30

1\

t.!

eyes;

1 1 ; 1

t ·.: -

can you, can you sleep, howow

".--. . "--..

_ _ _ _ . _ _ _ _ ~

p

-~===1IIf r. - - - . . .--. . . .

-10

1\" --t.!

can you , c an you sleep, how can you, can you sleep when I, when I_am_by, when

--,.......--:---- ~\"

. . . . . . . . . . . . . . . .

t.!

_-#vv l = it _ ~ ~ _ ~ . '--. <::»: '~Wf~p~'-

'---'. ,-,,:

<:.:»

'--....

7 f

15

1\" -~ -t.!

_ .-

, when1_aITL by? Were_ I_ with you.L, all_ night to be. Me -

II.. ~~ ~ ~ - - o ; ; ; ; . _ , , ; , . - - - . . . . . . . . . _ , . . . . . . . - - . . .

! .:

V~

_ . P _ .V - r : : c : r r - f1IIf

- - - . . .1\ - -

ould.L, from sleep be_ free;-ould, me- thinks I could,thinks I me -

- -\

I t.! , 1 1 - " -. ,_ . . _ .

f_

-

3 1

1\

- thinks I could, from sleep,

::::::--::=::::

- - - -ould from sleep be_

~~ . . - - - .e- thinks I could

_ , , - - - . . . _ .

I

~I - I

20II "

t.! ~ - -ree. A-}as,_ a - las. ___ my_ dear, you're

1\ "~ ~

t.! I ~ '1 v - c _ : r - ~ . r - - - - - - - r r I_. _ ;. . .. .

25II " - l-

t.! -old,_ cold as stone: You must no long - er, no, no long-er, no . no long - er,

II t i (,

~ ~ ,..-

t.!

, d~ ,

~ LgU. . .

I V ~ttJ. ~ 1 . J

p

-# ~_T

..1L;I - = = - =t.t ,

no. no long-er, long-er Iie_ a - lone. . Cut be with me my

" " - - - . . , - - I ~II-J I I r""""= == r""'1~

~

t.! ~ r ~I r 'I I r .~

i "!'

--- f dim. p--- .-...,

,--# .~ -~ . . ~ - -



3 2

30

dear, my dear,_ dear.L dear.L but be with me my dear, and I __ in _ each

- - - - - - . r=-.,..--.. --

~ -tJ -- -rm, and 1__ in_ each arm Will hugyou, hugyou close.L will hugyou,hug you

.....---=::::::~.--... -~d_jt ~

tJ_.i

r " r ~ _~ r LJr . .

-J ~:

-I

_--.J...._

- - - -5

1\11 . ,. .. .. .. ._

will hug you, hug youlose.Li., hug_ you cl os e.., and_ keep. , youc, warm,

~ =_

LJ_ .

. . . . -.f.

mf-

-J

-1\

, . . . . _ . . . , - ~

U

c lo se .L ; hug .; you c lo se. ; and.L keep. i, you L warm.lose.Lc; will hug you, hug you

_h_jt ~ ~ ~

1 ~ r - r r r -.f r r 1 'I J TL1'"~ -.y

p

= .- _

THE ENGLISH SOLO SONG

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JOHN DOWLAND Fifty Songs

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GEORGE BUTTERWORTH Folk Songs f rom Sussex

GEORGE BUTIE,JtWORTH Eleven Songs from A Shropshi re Lad

FREDERICK DELI,!S Ten Songs '

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