Luogo e data di registrazione		Hervormde Kerk, Bennebroek (Holland) - Juni / July 1969
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken - SAWT 9558-B - (1 LP) - durata 50' 32" - (p) 1970 - Analogico
	Edizione "Reference" CD		Tedec - 8.43778 ZS - (1 CD) - LC 3706 - durata 50' 32" - (c) 1987 - AAD
	Cover		Detail aus einem barocken Bilderrahmen mit König David, Musen, Tugenden und Lastem. Buchsbaumholz / Holland gegen 1670, mit freundlicher Genehmigung des Museums für Kunst und Gewerbe, Hamburg
	Note		-

Of the 69 anthems that were written by Henry Purcell, more than half were composed during the reign of Charles II, the earliest probably around 1678. It was during this period that Purcell rose from a position as composer for the royal violins to one as organist at Westminster Abbey and finally to an appointment as keeper of the wind instruments at the Chapel Royal. These anthems may, then, be considered early works, but already show Purcell's outstanding ability to elucidate the meaning of the words by his handling of the text. The selection of Purcell's sacred works presented here covers the period from 1680-1685. The 5-part full anthem “Remember not, Lord, our offences”, written 1680/82 on a text from the Anglican Book of Common Prayer, is an example of Purcell’s regard for the established Elizabethan traditions. Fashioned for the sheer beauty of its sound, it is a purely vocal motet in the old style. The principles of imitation are fundamental to its construction. In addition, we find highly chromatic passages used to great effect. The section “Neither take Thou vengeance of our sins” is reminiscent of the well-known German hymn tune “O sacred head, sore wounded,” though this is probably just coincidental. The 6-part anthem “O God Thou hast cast us out” (1680/82), Psalm 60 verses 1, 2; 11 and 12, may also be classified as “the old style,” even though a basso continuo accompaniment makes its appearance. The opening and closing sections of this anthem are particularly impressive, the former for the reiterated cry “O God” and the latter for its depiction of the final victory emphasised by the fugal treatment of the words “tread down our enemies.” The setting of Psalm 63 verses 1-4 and 7, “O God, Thou art my God” (1680/82) is a full anthem in the new style. That is to say, it is a choral anthem with two 3-part solo verse sections, and basso continuo. These “verses,” with their profusion of thirds, typical of many anthems and already almost stereotyped in their form, (e. g. part four “For Thy loving kindness”) provide a contrast to the powerful solid block harmony of the choral passages. Parts five and six are scored for double chorus. Section six is a setting of the Allelujah, which from now on became an almost traditional appendage to an anthem. Likewise in the new style is the anthem “Blow up the trumpet in Sion” (c. 1681), Joel 2, 15-17. Here we see how brilliantly Purcell deploys several choral groups; with the utmost mastery and virtuosity he uses the various combinations which then offer themselves. The sound of the trumpet is depicted not only by the parts moving in thirds but also by the rhythm - in fact the rhythmic element is of supreme importance for the work and the tremendous effect it creates. While the above mentioned full anthems were composed by Purcell in his capacity as organist at Westminster Abbey (till 1683), a church with both an organ of note and an excellent choir, the two verse anthems, “Rejoice in the Lord alway” (1684/85) and “My heart is inditing” (1685), were written by him in connection with his work with the Chapel Royal, which is reflected in their courtly style, in their scope and design. In these “cantata” anthems the solo and instrumental passages take precedence over the choral, for the Chapel Royal had the services of fine vocal and instrumental soloists whose talents were, naturally, exploited to the full. Thus the first of these two verse-anthems has only one choral passage, which is repeated at the end of the work - of its eleven sections only two are allotted to the choir. The constant recurrence of the 12-bar theme in practically every section musically underlines the message of the text “Rejoice alway” (Philippians 4, 4-7). This composition also goes under the name of the “Bell Anthem,” so called because of the bell-like passage on a ground bass on the instrumental introduction. Perhaps the most splendid and impressive of all Purcell’s anthems is the one written for the coronation of James II, 23rd. of April 1685, “My heart is inditing.” The text is taken from Psalm 45 and Isaiah 49 and it is scored for 8-part choir, soloists and string orchestra. Contemporary accounts tell us that it was performed while the Queen was being led to her throne after the annointing and crowning ceremonies. The anthem is one continual hymn of praise interrupted only by the contemplative section “Hearken, O daughter, consider” rendered by the soloist ensemble. The work ends with a magnificently conceived “Allelujah Amen,” pointing the way to Handel’s famous chorus. The Chaconne for three violins and continuo in G minor is an example both of Purcell’s full-sounding instrumental style and also of late-17th. century English music as a whole. Christoph-Hellmut Mahling