Introducing Henry Purcell

Henry Purcell, often hailed as England’s greatest Baroque composer, left an indelible mark on the world of music with his innovative and expressive compositions. Born in Westminster in 1659, Purcell’s musical genius blossomed early, leading him to become organist at both Westminster Abbey and the Chapel Royal. His works, ranging from operas and semi-operas to sacred anthems and instrumental pieces, comprise a unique blend of English, Italian, and French styles. Despite his premature death at the age of thirty-six, Purcell’s legacy endures, with his music continuing to charm audiences and influence composers to this day.

Brief Biography

• Born St Anne’s Lane, Old Pye Street, London during 1659.
• Entered the Chapel Royal around 1669 and studied under Captain Henry Cooke.
• Further instruction from Pelham Humphrey, in the Chapel Royal in 1872.
• Appointed Assistant Keeper of the King’s Instruments in 1673.
• There were probably further studies with John Blow and Christopher Gibbons.
• Purcell is organ tuner at Westminster Abbey in 1674.
• Appointed Organist at Westminster Abbey (1679) and at the Chapel Royal (1682).
• Marries Frances Peters (?) in c.1681.
• Appointed Organ Maker and Keeper to the King in 1683.
• Composes the Sonatas in III Parts in 1683.
• Dido and Aeneas (1689) is considered as the first English opera and is regarded as an early masterpiece of the form. 
• Composes anthem for the funeral service of Queen Mary, Thou Knowest, O Lord (1695
• Henry Purcell died at Marsham Street, Westminster, on 21 November 1895, aged 36 years.
• Buried adjacent to the organ in Westminster Abbey on 26 November 1895. 

Twelve Selected Works

Henry Purcell wrote a vast amount of music. He contributed to many genres, including opera, incidental music, liturgical works, odes and welcome anthems, many sacred and secular songs, a deal of instrumental music and small number of organ pieces.

Musically, he successfully fused English, French and Italian styes leading to an original sound. He was especially adept in writing for the voice that balances lyricism and expressive melodies supplemented by a good declamatory style. His dramatic works often use spoken dialogue with music to heighten the dramatic effect. Purcell was creative in his harmonic explorations, often writing unexpected chordal progressions and a subtle use of dissonance. He added “a subtlety and variety of expression and an intensity of emotion” rarely seen in the instrumental music of his day. Equally impressive is his use of counterpoint in his instrumental works.

1. Twelve Sonatas in Three Parts (c.1680)
2. Welcome to All the Pleasures (1683)
3. My Heart is Inditing, anthem composed for the coronation of King James II (1685)
4. Dido and Aeneas, opera (by 1688)
5. The History of Dioclesian or The Prophetess, semi-opera (1690)
6. King Arthur, semi-opera (1691)
7. The Fairy Queen, semi-opera based on Shakespeare’s A Midsummer Night’s Dream (1692)
8. Hail! Bright Cecilia, ode for St Cecilia’s Day (1692)
9. Come, Ye Sons of Art, ode for the Birthday of Queen Mary (1694)
10. Te Deum and Jubilate in D major (1694)
11. Abdelazer or The Moor’s Revenge, incidental music to Aphra Behn’s play (1695)
12. Music for the Funeral of Queen Mary (1695)

Further Reading

Most listeners will begin with the encyclopaedic essays in Grove’s Dictionary, the National Biography as well as Wikipedia. There are several introductions to the composer including Franklin B Zimmerman’s Henry Purcell: a guide to research (Garland Pub. 1989), the Ashgate Research Companion to Henry Purcell by Rebecca Herissone (Ashgate Pub., 2012) and The Purcell Companion edited by Michael Burden (Faber, 1995). Other interesting books that provide insights into Purcell’s life and works include Purcell: A Biography by Jonathan Keates (Northeastern University Press, 1996). This book offers a detailed account of Purcell’s life and his contributions to music, set against the backdrop of Restoration England which gives a detailed account of the composer’s life and his contributions to music, set against the backdrop of Restoration England. Then Robert King’s Henry Purcell (Thames and Hudson, 1994) explores his life against the political and social context of his time. Finally, I was introduced to the composer by way of an old paperback, Henry Purcell: The English Musical Tradition (Penguin, 1949). This remains a good introduction to the background, the influences, and the output of the composer.

If you can only hear one CD…

There are dozens of CDs dedicated to the music of Henry Purcell. These include complete editions of the sacred music, the chamber works, and the incidental music. Many versions of the operas and semi-operas are available. Much of this legacy will only be of interest to the specialist, but there are plenty of discs that explore a selection of his achievement.

If you can only hear one CD of music by Henry Purcell, I would recommend “The Best of Purcell” from Naxos (8.556839). This compilation includes a variety of his most celebrated works, such as the “Dido’s Lament” from Dido and Aeneas, the “Trumpet Tune” from The Indian Queen, and selections from The Fairy Queen. It is a great introduction to Purcell’s diverse and rich musical style.

Finally, if you can only listen to one work…

If you can only listen to one work by Henry Purcell, I would recommend Dido and Aeneas. This opera is one of Purcell’s most celebrated compositions and highlights his exceptional talent for blending dramatic narrative with beautiful, expressive music. The famous aria “When I am laid in earth” (Dido’s Lament) is particularly moving and highlights Purcell’s mastery of emotional depth and musical storytelling.