Dramatic Music Part 2 (Paperback Edition)-Volume 20 of the ‘Purcell Society’ series Dramatic Music Part 2 contains 16 pieces by Henry Purcell for intermediate/advanced (Grades 6-8) Voice(s) String Instruments and Continuo. The collection includes (among others) At The Close Of The Evening (The Knight Of Malta) If Thou Wilt Give Me Back My Love (A Fool's Preferment) and The Danger Is Over The Battle Is Past (The Fatal Marriage). Edited under the supervision of the Purcell Society by Ian Spink.Henry Purcell was an English composer. Although incorporating Italian and French stylistic elements into his compositions Purcell'slegacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers.The Purcell Society founded in 1876 is an organization dedicated to making the complete musical works of Henry Purcell available. Between 1876 and 1965 scores of all the known works of Purcell were published in 32 volumes.

Purcell Society Volume 22B (Hardback)-Duets Dialogues And Trios (Vol. 22B) is the complete and authoritative collection of all the duets dialogues and trios for Voice written by Purcell. It has been re-edited by Ian Spink (1932-2011) a noted musicologist and academic in the field of 17th Century English music. Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output. This hardback edition is one of aseries of volumes published by the Henry Purcell Society that cover the complete works of the composer.

Royal Welcome Songs Part 2 (Hardback)-The Purcell Society Volume 18 (Hardback edition) contains the second part of Henry Purcell’s Royal Welcome Songs. The Purcell Society is dedicated to making his vast list of works available many of which are currently out of print or inaccessible. This volume has been edited by Bruce Wood under the supervision of the Purcell Society. These volumes represent not only the most accurate but also the most authoritative version available. With comprehensive appendices detailed commentary and discussion the original setting of the texts and the full score for SATB Choir and String Quartet and Piano this is a must for any Purcell or Baroque musicenthusiast.

Song For The Duke Of Gloucester's Birthday 1695 (Full Score)-Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output.One of Purcell’s last pieces Who Can From Joy Refrain? (Z 342) was written for the 6th birthday of Prince William Duke of Gloucester in June 1695. The Prince was said to enjoy the brash tone of the Trumpet so the prominent Trumpet part was written especially for him. Unusually Purcell also made use of therecently-introduced Oboe and Bassoon.A real asset to the catalogue A Song For The Duke Of Gloucester's Birthday showcases the very best of Purcell’s genius.

Sonatas X-XII-This is the full printed sheet music Violin 2 part for Henry Purcell's 12 Sonatas Of Three Parts (Sonatas X-XII). Henry Purcell was a 17th century English Baroque composer considered to be one of the greatest English composers of all time.

This is a marvellous collection of pieces by Henry Purcell newly arranged for the Organ by concert organist Martin Setchell. Purcell's music is perfectly suited to the Organ and a number of his pieces have long been popular with players. This volume brings together a range of well-known pieces - trumpet tunes the Rondeau from Abdelazer Dido's Lament and movements from The Fairy Queen - and combines these with a wonderful selection of lesser-known pieces from across Purcell's work. There are sprightly tunes and hornpipes from the stage works lovely reflective songs and airs and a wide range of dances and chaconnes. The result is a set of pieceswith wise and varied church and concert use perfectly accessible to intermediate players and making a valuable addition to any organist's repertoire. Martin Setchell is Associate Professor of Music University Organist and tutor in Organ at the University of Canterbury School Of Music New Zealand. He combines his university teaching and research career with a busy and international schedule of recitals and concerts as soloist accompanist and continuo player on Organ and Harpsichord.

Par PURCELL HENRY / PURCELL DANIEL. / Répertoire / 2 Flûtes à Bec Alto ou Flûte Traversière et Violon

Catches (Paperback)-The first complete volume of Henry Purcell's Catches to appear in Purcell Society Edition since 1922. The new edition lays particular emphasis on accuracy and performance and includes a comprehensive commentary. Cloth edition available: NOV151103-01.

Henry Purcell's Sound The Trumpet! Beat The Drum! is a work for CtCtTTBB Soli SATB Chorus Continuo and Strings. This piece is taken from the Purcell Society Edition Volume 18: Royal Welcome Songs Part II edited by Bruce Wood. This is the Vocal Score.

Henry Purcell's From silent shades (1680). From Purcell Society Edition Vol. 25 (Secular songs for solo voice). Edited by Margaret Laurie (1985) for Solo Voice Continuo and Harpsichord accompaniment.

Since The Duke Is Return'd is a work by Henry Purcell a catch for three voices. The piece lasts around 2 minutes. This piece is number 31 from 'Catches' edited by Ian Spink (Purcell Society Edition Vol. 22A).

In completion of the first part (Hortus Musicus 50 now out of print) this second part to the 'Music To The Midsummer Night's Dream' contains all the remaining four-part instrumental pieces from Henry Purcell's opera 'The Fairy Queen' (1692). Similar to the pieces in the first part the composer wrote them for performance by Strings but they can also be played by Wind Instruments only (in particular wood-wind) or with string and wind instruments mixed and also with one or several instruments to a part. The pieces were put in such an order that they again present a small self-contained suite.The titles to the several numbers which arepartly mentioned more exactly in this book indicate their place in the above named opera by Purcell. They elucidate at the same time the character of the various pieces. Thus No.1 Air (Second Music) is originally a (second) introductory piece of music for the opera which still precedes the actual Overture. No.2 Jig No.5 Air and No.8 Air are instrumental postludes to the first fourth and second acts of the opera respectively whereas No.4 'Dance for the Followers of Night' No.6 'Dance for the Green Men' and No.7 'Monkeys' Dance' present a motley picture of the operatic construction which provided a great number of allegoric persons and figures. From a purely musical point of view this second part too of the 'Music To The Midsummer Night's Dream' contains gems of old instrumental music. May this present book help to gain new friends for the noble art of the great Old-English composer.

An impressive facsimile containing many songs from Henry Purcell's own hand. This Facsimile was Published for the Gresham College and The Purcell Society.

Urtext-An annual London celebration of the patron saint of music in the form of a banquet plus the performance of an ode was instituted on St. Cecilia’s Day 22 November 1683. The occasion proved so popular that it continued for some 30 years after. A newspaper account of the first performance of the 1692 Ode informs us that 'the Ode was admirably set to music by Mr. Henry Purcell and perform’d twice with universal applause'. The popularity of Purcell’s setting is apparent from the many sources that survived from the period and from printed extracts which appeared almost immediately after its first performance. The editor Christopher Hogwood is the founder-director of theAcademy of Ancient Music with whom he has made over 200 recordings. He is Honorary Professor of Music at the University of Cambridge and Visiting Professor at the Royal Academy of Music London.