Image by Francis Sandford, Public Domain, https://commons.wikimedia.org/w/index.php?curid=88431241
Purcell & Blow: Music for the Chapel Royal
VOICES, STRINGS & CONTINUO
Tutor: Christopher Roberts
Bolton Parish Church Hall, Silverwell Street, Bolton BL1 1PS
Reviewer: Dorret Conway
I had the pleasure of participating in a NWEMF (North West Early Music Forum) workshop on Saturday 5th April. I had never head of this organisation before 12th March when an email sent by Chair, Kirsten Flores, to Preston Symphony Orchestra landed in my mailbox.
It was advertised as Music for the Royal Chapel for strings and voices and was an invitation for string players to attend. Well, if it’s music fit for a king, got to be good, right?
I did a quick google search for more information from the links in the email and then asked a friend who is a cellist if he fancied it, and we promptly booked our places.
I had no idea what to expect. I let my imagination run a bit wild and had visions of eccentric hardcore re-enactors complete with period dress and matching instruments. I was only slightly disappointed but also relieved to find nothing of the sort; just a very friendly, welcoming and enthusiastic group of musicians.
I had not been there for very long before agreeing to the request to write a review for the newsletter. So, in addition to being part of the band of players for the singers, I paid a little bit more attention to the finer details so that I could give a fair account of the day and my experience.
There was a mix of ages, young and old-er, particularly as they have recently consolidated their collaboration with RNCM by electing a student representative to their committee and some college students – string players and singers were at the workshop.
The day followed the same format that I have come to expect from similar workshops although some groups like to call them playdays, but with the notable addition of a short warm up lead by Dr Chris Roberts from the National Centre for Early Music in York – I think I need to share that with Preston Symphony for their rehearsals. And then a brief background to the pieces by way of introduction.
We were expertly guided by Chris through 3 pieces from the coronation of King James II by Purcell & John Blow. The pieces were well chosen with lovely harmonies and beautifully sung by the choir.
We ended the day with a “performance” of the pieces, and it was wonderfully uplifting on a sunny spring day in Bolton as the music resonated and filled the hall.
The day flew by. It was professional and well-organised but at the same time relaxed and friendly. The information provided in advance was detailed including full programme, links to free downloads of the pieces for practice in advance, advice that instruments would be tuned to A=440, and a very helpful photograph of the entrance to the car park.
It was straightforward to book and pay and I received a prompt acknowledgement. At £25 it was good value for money. Refreshments, music, and name badges were provided on the day. I also did get to see a stunning bass viol and baroque bow.
I highly recommend to any string players or singers to embrace the opportunities provided by this group to spend a day of music making. Sign up for the mailing list to hear about these and other events featuring early music, or better still, become a member for £10 and enjoy a discounted members’ rate to attend their events. Hope to see you there.
Dorret Conway
More information about the day:
The coronation of King James II in Westminster Abbey on 23 April 1685 featured some of the finest music ever to have been composed for such a ceremony. John Blow’s ‘God spake sometime in visions’ and Henry Purcell’s ‘My heart is inditing’ were both lavishly scored in eight parts with string accompaniment. Blow’s grand and dramatic anthem was performed at the end of the king’s coronation, while Purcell’s more delicate piece was the climax of the ceremony that related to James’s queen, Mary of Modena.
Both works follow a similar structure which suggests that either the younger Purcell modelled his on his mentor’s or that the two colleagues collaborated closely. Featuring graceful music, striking moments of dissonance, and imitative writing, Purcell’s anthem ends with a gentle and stately Alleluia/Amen. The workshop will conclude with Purcell’s anthem ‘Praise the Lord, O Jerusalem’, which was composed for the coronation of William and Mary in 1689.
Music is available to view and download here so you can prepare in advance of the workshop [note that a different edition of ‘Praise the Lord, O Jerusalem’ with conventional clefs for altos and tenors is expected on the day]:
Purcell: My heart is inditing
Purcell: Praise the Lord, O Jerusalem
Blow: God spake sometime in visions
The Tutor
Christopher Roberts is Operations Manager at the National Centre for Early Music in York and has previously held positions at Benslow Music, Cambridge Early Music, and the Historically Informed Summer School. His PhD thesis, awarded by the University of Leeds, explored the musical interests, activities and networks of members of the provincial population in eighteenth-century Yorkshire. His publications include essays on the Doncaster composer Edward Miller (1735-1807) in Music in North-East England 1500-1800, ed. by Stephanie Carter, Kirsten Gibson and Roz Southey (The Boydell Press, 2020) and The Music Trade Across Britain, 1650-1800, ed. by Stephanie Carter and Simon D.I. Fleming (The Boydell Press, forthcoming). Chris enjoys composing and playing the harpsichord and cello. His music has been performed by Fretwork on BBC Radio 3, The Clothworkers Consort of Leeds and Leeds Baroque Choir and Orchestra.
