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Aeneas flees burning Troy, Federico Barocci, 1598.

In Greco-Roman mythology, Aeneas ( /ɪˈniːəs/; Greek: Αἰνείας, Aineías, derived from Greek Αἰνή meaning "to praise") was a Trojan hero, the son of the prince Anchises and the goddess Aphrodite. His father was the second cousin of King Priam of Troy, making Aeneas Priam's second cousin, once removed. The journey of Aeneas from Troy (with help from Aphrodite), which led to the founding of a hamlet south of Rome, is recounted in Virgil's Aeneid. He is considered an important figure in Greek and Roman legend. Aeneas is a character in Homer's Iliad, Quintus Smyrnaeus' Posthomerica, and Shakespeare's Troilus and Cressida.

Mythology[link]

Aeneas carrying Anchises, black-figured oinochoe, ca. 520–510 BC, Louvre (F 118)

In the Iliad, Aeneas is the leader of the Trojans' Dardanian allies (Trojans — descendants of Dardanus), as well as a third cousin and principal lieutenant of Hector, son of the Trojan king Priam. In the poem, Aeneas' mother Aphrodite frequently comes to his aid on the battlefield; he is a favorite of Apollo. Aphrodite and Apollo rescue Aeneas from combat with Diomedes of Argos, who nearly kills him, and carry him away to Pergamos for healing. Even Poseidon, who normally favors the Greeks, comes to Aeneas' rescue after he falls under the assault of Achilles, noting that Aeneas, though from a junior branch of the royal family, is destined to become king of the Trojan people. Aeneas killed 28 people in the Trojan War.^[1]

As seen in the first books of the Aeneid, Aeneas is one of the few Trojans who were not killed in battle or enslaved when Troy fell. When Troy was sacked by the Greeks, Aeneas, after being commanded by the gods to flee, gathered a group, collectively known as the Aeneads, who then traveled to Italy and became progenitors of the Romans. The Aeneads included Aeneas' trumpeter Misenus, his father Anchises, his friends Achates, Sergestus and Acmon, the healer Iapyx, the steady helmsman Palinurus, and his son Ascanius (also known as Iulus, Julus, or Ascanius Julius.) He carried with him the Lares and Penates, the statues of the household gods of Troy, and transplanted them to Italy.

(From here on, the context shifts from Greek to Roman, so the Roman names of the gods will be used, except for Aphrodite.)

Aeneas tells Dido about the fall of Troy, by Pierre-Narcisse Guérin.

After a brief but fierce storm sent up against the group at Juno's request, and several failed attempts to found cities, Aeneas and his fleet made landfall at Carthage after six years of wanderings. Aeneas had a year-long affair with the Carthaginian queen Dido (also known as Elissa), who proposed that the Trojans settle in her land and that she and Aeneas reign jointly over their peoples. Once again, this was in favour of Juno, who was told of the fact that her favorite city would eventually be defeated by the Trojans' descendants. However, the messenger god Mercury was sent by Jupiter and Aphrodite to remind Aeneas of his journey and his purpose, thus compelling him to leave secretly and continue on his way. When Dido learned of this, she ordered her sister Anna to construct a pyre, she said, to get rid of Aeneas' possessions, left behind by him in his haste to leave. Standing on it, Dido uttered a curse that would forever pit Carthage against Rome. She then committed suicide by stabbing herself with the same sword she gave Aeneas when they first met and then falling on the pyre. Anna reproached the mortally wounded Dido. Meanwhile, Juno, looking down on the tragedy and moved by Dido's plight, sent Iris to make Dido's passage to Hades quicker and less painful. When Aeneas later traveled to Hades, he called to her ghost but although she recognized him, she turned away (aversa) and kept her eyes fixed on the ground (solo fixos oculos)

The company stopped on the island of Sicily during the course of their journey. After the first trip, before the Trojans went to Carthage, Achaemenides, one of Odysseus' crew who had been left behind, traveled with them. Aeneas also stopped at Drepanum on the western coast of Sicily, where his father, Anchises, died peacefully. After visiting Carthage, the Trojans returned to Sicily where they were welcomed by Acestes, king of the region and son of the river Crinisus by a Dardanian woman.

Aeneas defeats Turnus, by Luca Giordano, 1634–1705. The genius of Aeneas is shown ascendant, looking into the light of the future, while that of Turnus is setting, shrouded in darkness.

Latinus, king of the Latins, welcomed Aeneas' army of exiled Trojans and let them reorganize their lives in Latium. His daughter Lavinia had been promised to Turnus, king of the Rutuli, but Latinus received a prophecy that Lavinia would be betrothed to one from another land — namely, Aeneas. Latinus heeded the prophecy, and Turnus consequently declared war on Aeneas at the urging of Juno, who was aligned with King Mezentius of the Etruscans and Queen Amata of the Latins. Aeneas' forces prevailed. Turnus was killed and his people were captured. According to Livy, Aeneas was victorious but Latinus died in the war. Aeneas founded the city of Lavinium, named after his wife. He later welcomed Dido's sister, Anna Perenna, who then committed suicide after learning of Lavinia's jealousy.

After Aeneas' death, Aphrodite asked Jupiter to make her son immortal. Jupiter agreed and the river god Numicus cleansed Aeneas of all his mortal parts and Aphrodite anointed him with Ambrosia and Nectar, making him a god. Aeneas was recognized as the god Jupiter Indiges. Inspired by the work of James Frazer, some have posited that Aeneas was originally a life-death-rebirth deity.

Family and legendary descendants[link]

Aeneas and the god Tiber, by Bartolomeo Pinelli.

Aeneas had an extensive family tree. His wet-nurse was Caieta, and he is the father of Ascanius with Creusa, and of Silvius with Lavinia. The former, also known as Iulus (or Julius), founded Alba Longa and was the first in a long series of kings. According to the mythology outlined by Virgil in the Aeneid, Romulus and Remus were both descendants of Aeneas through their mother Rhea Silvia, making Aeneas progenitor of the Roman people. Some early sources call him their father or grandfather,^[2] but considering the commonly accepted dates of the fall of Troy (1184 BC) and the founding of Rome (753 BC), this seems unlikely. The Julian family of Rome, most notably Julius Cæsar and Augustus, traced their lineage to Ascanius and Aeneas, thus to the goddess Aphrodite. Through the Julians, the Palemonids make this claim. The legendary kings of Britain trace their family through a grandson of Aeneas, Brutus.

Physical appearance[link]

In Virgil's Aeneid, Aeneas is described as strong and handsome, but his hair colour or complexion are not described.^[3] In late antiquity however sources add further physical descriptions. The Daretis Phrygii de excidio Trojae historia of Dares Phrygius describes Aeneas as ‘‘auburn-haired, stocky, eloquent, courteous, prudent, pious, and charming.’’^[4]

There is also a brief physical description found in John Malalas' Chronographia:</br>

‘‘Aeneas: short, fat, with a good chest, powerful, with a ruddy complexion, a broad face,</br> a good nose, fair skin, bald on the forehead, a good beard, grey eyes.’’^[5]

Literature, theatre and film[link]

Aeneas is the subject of the French mediaeval romance Roman d'Enéas.

Aeneas is also a titular character in Henry Purcell's opera Dido and Aeneas (c. 1688), and one of the principal roles in Hector Berlioz' opera Les Troyens (c. 1857).

In modern literature, Aeneas appears in David Gemmell's Troy series as a main heroic character who goes by the name Helikaon.

Aeneas is a main character in Ursula K. Le Guin's Lavinia, a re-telling of the last six books of the Aeneid told from the point of view of Lavinia, daughter of King Latinus of Latium.

Aeneas is one of the mythical founders of the Ventrue Clan in the Role Playing game Vampire: the Requiem by White Wolf Game Studios.

Despite the many Hollywood elements, Aeneas has received little interest from the film industry. Portrayed by Steve Reeves, he was the main character in the 1961 sword-and-sandal peplum Guerra di Troia (The Trojan War). Reeves reprised the role the following year in the film The Avenger, about Aeneas's arrival in Latium and his conflicts with local tribes as he tries to settle his fellow Trojan refugees there.

The most recent cinematic portrayal of Aeneas was in the film Troy, in which he appears as a youth charged by Paris to protect the Trojan refugees, and to continue the ideals of the city and its people. It is at this point that Paris gives Aeneas Priam's sword, in order to give legitimacy and continuity to the Royal Line of Troy – and lay the foundations of Rome.

Family tree[link]

See also[link]

• Lacrimae rerum
• Cumaean Sibyl
• The Golden Bough

Notes[link]

see A.C Grayling Book The Choice of Hercules

References[link]

Wikimedia Commons has media related to: Aeneas

Wikisource has the text of the 1911 Encyclopædia Britannica article Aeneas.

Classical sources

• Homer, Iliad II, 819–21; V, 217–575; XIII, 455–544; XX, 75–352;
• Bibliotheca III, xii, 2;
• Apollodorus, Epitome III, 32–IV, 2; V, 21;
• Virgil, Aeneid;
• Ovid, Metamorphoses XIV, 581–608;
• Ovid, Heroides, VII.
• Livy, Book 1

Popular sources

• Vampire: the Requiem, Ventrue: Lords over the Damned

v t e Roman mythology and religion Deities Apollo · Bona Dea · Castor and Pollux · Ceres · Cupid · Diana · Dis Pater · Faunus · Genius · Hercules · Janus · Juno · Jupiter · Lares · Liber · Mars · Mercury · Minerva · Orcus · Neptune · Penates · Pluto · Priapus · Proserpina · Quirinus · Saturn · Silvanus · Sol · Venus · Vesta · Vulcan See also List of Roman deities Abstract deities Concordia · Fides · Fortuna · Pietas · Spes · Roma · Terra Legendary founders Aeneas · Romulus and Remus · Numa Pompilius · Servius Tullius · Ancus Marcius Texts Vergil, Aeneid · Ovid, Metamorphoses and Fasti · Propertius, Elegies Book 4 · Apuleius, Metamorphoses (The Golden Ass) Concepts and practices Religion in ancient Rome · Festivals · interpretatio graeca · Imperial cult · Temples See also Glossary of ancient Roman religion · Greek mythology · myth and ritual · classical mythology

Dame Janet Abbott Baker, CH, DBE, FRSA (born 21 August 1933) is an English mezzo-soprano best known as an opera, concert, and lieder singer.^[1]

She was particularly closely associated with baroque and early Italian opera and the works of Benjamin Britten. During her career, which spanned the 1950s to the 1980s, she was considered an outstanding singing actress and widely admired for her dramatic intensity, perhaps best represented in her famous portrayal as Dido, the tragic heroine of Berlioz's magnum opus Les Troyens.^[2] As a concert performer, Baker was noted for her interpretations of the music of Gustav Mahler and Edward Elgar. David Gutman, writing in the Gramophone, described her performance of Mahler's Kindertotenlieder as "intimate, almost self-communing."^[3]

Biography and career[link]

Early life[link]

Baker was born in Hatfield, South Yorkshire, northern England. Her father was an engineer who sang in a male voice choir. Members of her family worked at Bentley pit, in Doncaster, South Yorkshire.^{[citation needed]} She attended York College for Girls and then Wintringham Girls' Grammar School in Grimsby. The death of her elder brother, Peter, when she was 10 years old, from a heart condition, was a formative moment that made her take responsibility for the rest of her life, she revealed in a BBC Radio 3 Lebrecht Interview in September 2011.^[4]

In her early years Baker worked in a bank, transferring to London in 1953 where she trained with Meriel St Clair and Helene Isepp, whose son Martin became her regular accompanist. Knocked down by a bus in 1956, she suffered concussion and a persistently painful back injury.^[5] That same year, she came second in the Kathleen Ferrier Memorial Competition at the Wigmore Hall, winning national attention.

Debut[link]

In 1956, she made her stage debut with the Oxford University Opera Club as Miss Róza in Smetana's The Secret. That year, she also made her debut at Glyndebourne. In 1959, she sang Eduige in the Handel Opera Society's Rodelinda; other Handel roles included Ariodante (1964), of which she later made an outstanding recording with Raymond Leppard, and Orlando (1966), which she sang at the Barber Institute, Birmingham.

Opera[link]

With the English Opera Group at Aldeburgh, Baker sang Purcell's Dido and Aeneas in 1962, Polly (Benjamin Britten's version of The Beggar's Opera) and Lucretia (in Britten's The Rape of Lucretia). At Glyndebourne she appeared again as Dido (1966) and as Diana/Jupiter in Francesco Cavalli's La Calisto, and Penelope in Monteverdi's Il ritorno d'Ulisse in Patria. For Scottish Opera she sang Dorabella in Mozart's Così fan tutte, Dido, Octavian in Richard Strauss's Der Rosenkavalier, the Composer in Ariadne auf Naxos and the role of Orfeo in Gluck's Orfeo ed Euridice. The latter was considered her signature role; she sang it everywhere and a videotaped performance from Glyndebourne is available (see below).

In 1966, Baker made her debut as Hermia at the Royal Opera House, Covent Garden, and went on to sing Berlioz's Dido, Kate in Britten's Owen Wingrave, Mozart's Vitellia and Idamante, Cressida in William Walton's Troilus and Cressida and the title role in Gluck's Alceste (1981) there. For the English National Opera, she sang the title role in Monteverdi's L'incoronazione di Poppea (1971),^[6] Charlotte in Massenet's Werther, and the title roles in Donizetti's Maria Stuarda and Handel's Giulio Cesare.

Oratorio and song[link]

During this same period she made an equally strong impact on audiences in the concert hall, both in oratorio roles and solo recitals. Among her most notable achievements are her recordings of the Angel in Elgar's The Dream of Gerontius, made with Sir John Barbirolli in December 1964 and Sir Simon Rattle over twenty years later; her 1965 performances of Elgar's Sea Pictures and Mahler's Rückert-Lieder, also recorded with Barbirolli; and, also from 1965, the first commercial recording of Ralph Vaughan Williams's Christmas oratorio Hodie under Sir David Willcocks. She performed in 1971 for the Peabody Mason Concert series in Boston.^[7] In 1976 she premièred the solo cantata Phaedra, written for her by Britten; and Dominick Argento's Pulitzer Prize-winning song cycle From the Diary of Virginia Woolf, also written with Baker's voice in mind. She has also been highly praised for her insightful performances of Brahms's Alto Rhapsody, Wagner's Wesendonck Lieder as well as solo songs from the French, German and English repertoire.

Retirement[link]

Dame Janet Baker's final operatic appearance was as Orfeo in Gluck's Orfeo ed Euridice, on 17 July 1982, at Glyndebourne.^[8] She published a memoir, Full Circle, in 1982. In 1991, Baker was elected Chancellor of the University of York. She held the position until 2004, when she was succeeded by Greg Dyke. An enthusiastic Patron of the Leeds International Pianoforte Competition, she gave an address at the closing ceremony of the 2009 event.^[9]

Honours and awards[link]

Baker was made a Commander of the Order of the British Empire (CBE) in 1970 and appointed to Dame Commander (DBE) in 1976. She was appointed a member of the Order of the Companions of Honour (CH) in 1993. In 1968, she was initiated as an Honorary Member of Sigma Alpha Iota International Music Fraternity by the Alpha Omicron Chapter at Occidental College, California, United States.^[10] She received the Léonie Sonning Music Prize of Denmark in 1979. In 2008, she received the Distinguished Musician Award from the Incorporated Society of Musicians and in 2011 she was installed as an Honorary Freeman of the Worshipful Company of Musicians at a ceremony in the City of London. This is the highest honour that the Company can bestow on a fellow musician.^{[citation needed]} Baker was voted into Gramophone Magazine's inaugaral Hall of Fame in 2012.^[11]

Private life[link]

She married (James) Keith Shelley in 1957 in Harrow. Following her retirement as a singer she did perform and record some spoken roles, for example the role of the Narrator in Britten's incidental music for The Rescue of Penelope; in later years, apart from occasional public appearances such as the 2009 Leeds event, she now has "nothing to do with anyone except close friends".^[8]

[edit] Recordings

• Mahler: Kindertotenlieder with The Hallé Orchestra; John Barbirolli conducting (EMI LP cat. no. ASD 2338; released 1968)
• Mahler: Das Lied von der Erde with the Royal Concertgebouw Orchestra under Bernard Haitink.
• Handel: Julius Caesar with the English National Opera; Charles Mackerras conducting (Chandos CHAN 3019; recorded 1–7 August 1984; released 1999)
• Schubert: Lieder. A double-CD with pianists Gerald Moore and Geoffrey Parsons, containing forty-two songs. EMI classics, 7243 5 69389 2
• Gluck: Orpheus and Euridice at Glyndebourne Festival Opera, conducted by Raymond Leppard. On video. Copyright 1982 by National Video Corporation, Limited.
• Mozart: La clemenza di Tito, conducted by Sir Colin Davis. Philips.
• Elgar: Sea Pictures, Op. 37
• Purcell: Dido and Aeneas, conducted by Anthony Lewis, English Chamber Orchestra, The St. Anthony Singers; rec. Oct. 1961; with Raimund Herincx as Aeneas. Decca Legendary Performances/UMG. SOL 60047.

References[link]

Notes

External links[link]

• Janet Baker at Allmusic
• IMDb

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2007)

Dame Carolyn Emma Kirkby, DBE (born 26 February 1949) is an English soprano singer and one of the world's most renowned early music specialists. She attended Sherborne School For Girls in Dorset and was a classics student at Somerville College, Oxford, and an English teacher before developing a career as a soloist. She was appointed Dame Commander of the Order of the British Empire in the 2007 Queen's Birthday Honours list.^[1]

Education and early career[link]

Emma Kirkby was educated at Hanford School^[2] and Sherborne School For Girls in Dorset. Her father was Geoffrey John Kirkby, a Royal Navy Officer.

Originally, Kirkby had no expectations of becoming a professional singer. As a classics student at Oxford and schoolteacher she sang for pleasure in choirs and small groups, notably Schola Cantorum of Oxford, always feeling at home most in Renaissance and Baroque repertoire. The fact that her voice was not a particularly large one meant that her potential as a soloist was not recognised immediately.

Kirkby was a founding member of the Taverner Choir, and in 1973 began her long association with the Consort of Musicke. She took part in the early Decca Florilegium recordings with both the Consort of Musicke and the Academy of Ancient Music, at a time when most college-trained sopranos were not seeking a sound appropriate for early music instruments. She therefore had to find her own approach, with enormous help from Jessica Cash in London, and from the directors, fellow singers and instrumentalists with whom she has worked over the years.

Kirkby has built long term relationships with chamber groups and orchestras, in particular London Baroque, the Freiburger Barockorchester, L’Orfeo (of Linz) and the Orchestra of the Age of Enlightenment, and now with some of the younger groups – the Palladian Ensemble and Florilegium. She has also been the Patron of Derby Choral Union since 1993. She has taught for many years at Dartington International Summer School.

In 1994, she was awarded an Honorary Degree (Doctor of Music) from the University of Bath.^[3]

Recordings[link]

Kirkby has made well over a hundred recordings of all kinds, from sequences of Hildegard of Bingen to madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque, works of Mozart, Haydn and Johann Christian Bach. Recent recordings include: Handel: Opera Arias and Overtures 2 for Hyperion, Johann Sebastian Bach wedding cantatas for Decca, Bach Cantatas 82a and 199 for Carus; and four projects for BIS: with London Baroque, one of Handel motets and one of Christmas music by Scarlatti, Bach and others; with the Royal Academy Baroque Orchestra the first recording of the newly-rediscovered Gloria by Handel; and with the Romantic Chamber Group of London, Chanson d'amour, an album of songs by the American composer Amy Beach, who died in 1944.

More recent recordings: an anthology, Classical Kirkby, devised and performed with Anthony Rooley, on the BIS label, 2002; Cantatas by Cataldo Amodei, also for BIS, 2004; with Fretwork, consort songs by William Byrd, for Harmonia Mundi USA, 2005.; Scarlatti Stabat Mater with Daniel Taylor, for ATMA, 2006; Honey from the Hive, songs of John Dowland, with Anthony Rooley, for BIS, 2006: and Musique and Sweet Poetrie, also for BIS, 2007; lute songs from Europe with Jakob Lindberg.

In 1999 Kirkby was voted Artist of the Year by Classic FM Radio listeners and in November 2000 she received the Order of the British Empire. BBC Music Magazine in April 2007 published a survey of critics to nominate “The 20 greatest sopranos”, controversially^{[citation needed]} placing Kirkby at number 10 ^[4]

Despite all her recording activity, Kirkby prefers live concerts, especially the pleasure of performing favourite programmes with colleagues.

Personal life[link]

From 1971 to 1983 she was married to the conductor Andrew Parrott. ^[5]

She later married lutenist Anthony Rooley, with whom she has a son.

On 21 January 2011 it was announced that Dame Emma had been awarded the Queen's Medal for Music^[6], an award funded by the Privy Purse and given to an individual who has had a major influence on the musical life of the nation.^[7]

References[link]

1. ↑ Rushdie and Eavis lead honours, BBC News, 15 June 2007
2. ↑ "Hanford School". The Good Schools Guide. http://www.goodschoolsguide.co.uk/index.php?option=com_schoollistings&fullwriteup=26633. Retrieved 5 May 2011. 
3. ↑ "Honorary Graduates 1989 to present". bath.ac.uk. University of Bath. http://www.bath.ac.uk/ceremonies/hongrads/. Retrieved 18 February 2012. 
4. ↑ Are these the 20 best sopranos of the recorded era?, Guardian, 14 March 2007
5. ↑ [http://wiki.answers.com/Q/Is_Emma_kirkby_married
6. ↑ The Queen’s Medal For Music 2010, 21 January 2011, Buckingham Palace, 21 January 2011
7. ↑ The Queen's Medal for Music, 21 January 2011, Buckingham Palace, 21 January 2011

External links[link]

• EMMA KIRKBY: The Official Emma Kirkby website
• BIS records - artist's page
• Harmonia Mundi records - artist's page
• Hyperion records - artist's page
• ATMA records - artist's page
• Decca records - artist's page
• Goldberg, the early-music portal
• Sherborne Girls (Sherborne School For Girls)

Henry Purcell by John Closterman

Engraved portrait of Henry Purcell by R. White after Closterman, from Orpheus Britannicus

Henry Purcell ( /ˈpɜrsəl/;^[1] 10 September 1659 (?)^[2]– 21 November 1695), was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar.

Early life and career[link]

Purcell was born in St Ann's Lane Old Pye Street, Westminster. Henry Purcell Senior,^[3] whose older brother Thomas Purcell (d. 1682) was also a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England.^[4] Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (d. 1717), the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from the year 1659 and onward.^[5]

After his father's death in 1664, Purcell was placed under the guardianship of his uncle who showed him great affection and kindness.^[6] Thomas was himself a gentleman of His Majesty's chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (d. 1672),^[7] Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor.^[8] Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.^[5]

Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670.^[9] (The dates for his compositions are often uncertain, despite considerable research.) It is assumed that the three-part song "Sweet tyranness, I now resign" was written by him as a child.^[6] After Humfrey's death, Purcell continued his studies under Dr. John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.^[4] Henry Purcell's earliest anthem "Lord, who can tell" was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.^[10]

In 1679, he wrote some songs for John Playford's Choice Ayres, Songs and Dialogues and also an anthem, the name of which is not known, for the Chapel Royal. From a letter written by Thomas Purcell, and still extant, we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem "They that go down to the sea in ships." In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The work is a very difficult one, opening with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.

Later career and death[link]

Another portrait of Henry Purcell

In 1679, Blow, who had been appointed organist of Westminster Abbey in 1669, resigned his office in favour of his pupil.^[11] Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. However, during the early part of the year, probably before taking up his new office, he had produced two important works for the stage, the music for Nathaniel Lee's Theodosius, and Thomas d'Urfey's Virtuous Wife.^[11] Between 1680 and 1688 Purcell wrote music for seven plays.^[12] The composition of his chamber opera Dido and Aeneas, which forms a very important landmark in the history of English dramatic music, has been attributed to this period, and its earliest production may well have predated the documented one of 1689.^[11] It was written to a libretto furnished by Nahum Tate, and performed in 1689 in cooperation with Josias Priest, a dancing master and the choreographer for the Dorset Garden Theatre. Priest's wife kept a boarding school for young gentlewomen, first in Leicester Fields and afterwards at Chelsea, where the opera was performed.^[13] It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Both works run to less than one hour. At the time Dido and Aeneas never found its way to the theatre, though it appears to have been very popular in private circles. It is believed to have been extensively copied, but only one song was printed by Purcell's widow in Orpheus Britannicus, and the complete work remained in manuscript until 1840, when it was printed by the Musical Antiquarian Society under the editorship of Sir George Macfarren. The composition of Dido and Aeneas gave Purcell his first chance to write a sustained musical setting of a dramatic text. It was his only opportunity to compose a work in which the music carried the entire drama.^[12] The story of Dido and Aeneas derives from the original source in Virgil's epic the Aeneid.^[14]

Soon after Purcell's marriage, in 1682, on the death of Edward Lowe, he was appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at Westminster Abbey.^[15] His eldest son was born in this same year, but his life was short lived.^[16] His first printed composition, Twelve Sonatas, was published in 1683.^[17][18] For some years after this, he was busy in the production of sacred music, odes addressed to the king and royal family, and other similar works.^[19][20] In 1685, he wrote two of his finest anthems, "I was glad" and "My heart is inditing", for the coronation of King James II.^[15] One of Purcell's most elaborate, most important and most magnificent works was a birthday ode for Queen Mary. It is titled Come ye Sons of Art, and was written by Nahum Tate and set by Purcell.^[21]

In 1687, he resumed his connection with the theatre by furnishing the music for Dryden's tragedy, Tyrannick Love. In this year, Purcell also composed a march and quick-step, which became so popular that Lord Wharton adapted the latter to the fatal verses of Lillibullero; and in or before January 1688, he composed his anthem "Blessed are they that fear the Lord" by express command of the King. A few months later, he wrote the music for D'Urfey's play, The Fool's Preferment. In 1690, he composed the music for Betterton's adaptation of Fletcher and Massinger's Prophetess (afterwards called Dioclesian)^[22] and Dryden's Amphitryon. During the first ten years of his mastership, Purcell composed much- precisely how much we can only guess. In 1691, he wrote the music for what is sometimes considered his dramatic masterpiece, King Arthur, with the libretto by Dryden and first published by the Musical Antiquarian Society in 1843. Another one of Purcell's operas is King Arthur, or The British Worthy in 1691.^[13] In 1692, he composed The Fairy-Queen (an adaptation of Shakespeare's A Midsummer Night's Dream), the score of which (his longest for theatre)^[23] was rediscovered in 1901 and published by the Purcell Society.^[24] The Indian Queen followed in 1695, in which year he also wrote songs for Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars^[25]), probably including "Full fathom five" and "Come unto these yellow sands". The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard.^[23] In these semi-operas (another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.

Purcell's Te Deum and Jubilate Deo were written for Saint Cecilia's Day, 1694, the first English Te Deum ever composed with orchestral accompaniment. This work was annually performed at St Paul's Cathedral until 1712, after which it was performed alternately with Handel's Utrecht Te Deum and Jubilate until 1743, when both works were replaced by Handel's Dettingen Te Deum.^[26]

He composed an anthem and two elegies for Queen Mary II's funeral.^[27] Besides the operas and semi-operas already mentioned, Purcell wrote the music and songs for Thomas d'Urfey's The Comical History of Don Quixote, Boudicca, The Indian Queen and others, a vast quantity of sacred music, and numerous odes, cantatas, and other miscellaneous pieces. The quantity of his instrumental chamber music is minimal after his early career, and his keyboard music consists of an even more minimal number of harpsichord suites and organ pieces.^[28] In 1693, Purcell composed music for two Comedies: The Old Bachelor, and The Double Dealer. Purcell also composed for five other plays within the same year.^[11] In July 1695, Henry Purcell composed an ode for the Duke of Gloucester for his sixth birthday. The ode is titled Who can from joy refrain?^[29] Purcell's four-part sonatas were issued in 1697.^[11] In the remaining six years of his life, Henry Purcell wrote music for forty two plays.^[11]

Purcell died in 1695 at his home in Dean's Yard, Westminster, at the height of his career. He is believed to have been 35 or 36 years old at the time. The cause of his death is unclear: one theory is that he caught a chill after returning home late from the theatre one night to find that his wife had locked him out. Another is that he succumbed to tuberculosis.^[30] The beginning of Purcell's will reads:

"In the name of God Amen. I, Henry Purcell, of the City of Westminster, gentleman, being dangerously ill as to the constitution of my body, but in good and perfect mind and memory (thanks be to God) do by these presents publish and declare this to be my last Will and Testament. And I do hereby give and bequeath unto my loving wife, Frances Purcell, all my estate both real and personal of what nature and kind soever..."^[31]

Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his as well. Purcell was universally mourned as 'a very great master of music.'  Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense in the north aisle of the Abbey.^[32] His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that blessed place where only his harmony can be exceeded."^[33]

Henry Purcell fathered six children by his wife Frances, four of whom died in infancy. His wife, as well as his son Edward (1689–1740) and daughter Frances, survived him.^[11] Frances the elder died in 1706, having published a number of her husband's works, including the now famous collection called Orpheus Britannicus, in two volumes, printed in 1698 and 1702, respectively. Edward was appointed organist of St Clement Eastcheap, London, in 1711 and was succeeded by his son Edward Henry Purcell (d. 1765). Both men were buried in St Clement's near the organ gallery.

Influence and reputation[link]

"The Flowering of the English Baroque", bronze memorial sculpture by Glynn Williams in a small park on Victoria St, Westminster.

After his death, Purcell was honoured by many of his contemporaries, including his old friend John Blow, who wrote "An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing)" with text by his old collaborator, John Dryden. More recently, the English poet Gerard Manley Hopkins wrote a famous sonnet entitled simply "Henry Purcell", with a headnote reading: "The poet wishes well to the divine genius of Purcell and praises him that, whereas other musicians have given utterance to the moods of man's mind, he has, beyond that, uttered in notes the very make and species of man as created both in him and in all men generally."

Purcell also had a strong influence on the composers of the English musical renaissance of the early 20th century, most notably Benjamin Britten, who created and performed a realisation of Dido and Aeneas and whose The Young Person's Guide to the Orchestra is based on a theme from Purcell's Abdelazar. Stylistically, the aria "I know a bank" from Britten's opera A Midsummer Night's Dream is clearly inspired by Purcell's aria "Sweeter than Roses", which Purcell originally wrote as part of incidental music to Richard Norton's Pausanias, the Betrayer of His Country.

Purcell is honoured together with Johann Sebastian Bach and George Frideric Handel with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.^[34] In a 1940 interview Ignaz Friedman stated that he considered Purcell as great as Bach and Beethoven. In Victoria Street, Westminster, England, there is a bronze monument to Purcell (right), sculpted by Glynn Williams and erected in 1994.

Purcell's works have been catalogued by Franklin Zimmerman, who gave them a number preceded by Z. A Purcell Club was founded in London in 1836 for promoting the performance of his music, but was dissolved in 1863. In 1876 a Purcell Society was founded, which published new editions of his works. A modern day Purcell Club has been created, and provides guided tours and concerts in support of Westminster Abbey.

So strong was his reputation that a popular wedding processional was incorrectly attributed to Purcell for many years. The so-called Purcell's Trumpet Voluntary was in fact written around 1700 by a British composer named Jeremiah Clarke as the Prince of Denmark's March.

In 2009 Pete Townshend of The Who, an English rock band that established itself in the 1960s, identified Purcell's harmonies as an influence on the band's music (in songs such as "Won't Get Fooled Again" (1971), "I Can See for Miles" (1967) and the very Purcellian intro to "Pinball Wizard").^[35]

Michael Nyman, at the request of the director, built the score of Peter Greenaway's 1982 film, The Draughtsman's Contract on ostinati by Purcell from various sources, one misattributed. He credited Purcell as a "music consultant." Another of Purcell's ostinati, the Cold Genius aria from King Arthur, was used in Nyman's Memorial.

In popular culture[link]

Purcell is among the Baroque composers who has had a direct influence on modern rock and roll; according to Pete Townshend of The Who, Purcell was among his influences, particularly evident in the opening bars of The Who's "Pinball Wizard".^[36] The processional section from Purcell's "Music for the Funeral of Queen Mary," was also adapted for the synthesiser by Wendy Carlos to serve as the theme music for the 1971 film A Clockwork Orange, the music is also featured in the final scene of the 1995 film The Young Poisoner's Handbook. Noted cult New Wave artist Klaus Nomi regularly performed "The Cold Song" from King Arthur during his career, including a version on his debut self-titled album, Klaus Nomi, from 1981; his last public performance before his untimely death was an interpretation of the piece done with a full orchestra in December 1982 in Munich. Purcell wrote the song for a bass, but numerous countertenors have performed the piece in homage to Nomi. Sting recorded it on his 2009 album If On a Winter's Night....

In the 1995 film England, My England, the life of Purcell (played by Michael Ball) was depicted as seen through the eyes of a playwright in the 1960s who is trying to write a play about him.

In the 21st century, the soundtrack of the 2005 film version of Pride and Prejudice features a dance titled "A Postcard to Henry Purcell." This is a version by composer Dario Marianelli of Purcell's Abdelazar theme. In the German-language 2004 movie, Der Untergang ([the] Downfall (film), the music of Dido's Lament is used repeatedly as the end of the Third Reich culminates.

I was Glad Ode 1 – Sinfonia Ode 2 – Welcome to All Ode 3 – Hail to this Happy Assembly Ode 4 – Here the Deities Approve Ode 5 – While Joys Celestial Ode 6 – Then Lift Up Your Voices Ode 7 – Beauty, Thou Scene of Love Ode 8 – In a Consort of Voices Hear my prayer, O Lord (1.9 Mb)

	Toccata in A major Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century
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	"The Queen's Dolour (A Farewell)" Realised by Ronald Stevenson (1958), performed live by Mark Gasser
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See also[link]

• List of compositions by Henry Purcell

References[link]

Notes

Bibliography

• Burden, Michael, ed. Performing the Music of Henry Purcell, Clarendon Press, Oxford, 1996.
• Burden, Michael, ed. Henry Purcell's Operas; The Complete Texts, Oxford University Press, Oxford, 2000.
• Dent, Edward J. Foundations of English Opera, Cambridge University Press, Cambridge, 1928.
• Duffy, Maureen, Henry Purcell, Fourth Estate Ltd, Londen, 1994.
• Holman, Peter and Robert Thompson. "Henry Purcell (ii)," Grove Music Online, ed. L. Macy (accessed 17 March 2006), grovemusic.com (subscription access).
• Holman, Peter, Henry Purcell, Oxford University Press, Oxford, 1994.
• Holst, Imogen, ed. Henry Purcell 1659–1695: Essays on His Music, Oxford University Press, London, 1959.
• Keates, Jonathan, Purcell, Chatto & Windus, Londen, 1995
• Moore, R. E., Henry Purcell and the Restoration Theatre, Greenwood Press, Westport CT, 1961.
• Muller, Julia, Words and Music in Henry Purcell's First Semi-Opera, Dioclesian, Edwin Mellen Press, New York, 1990.
• Orrey, Leslie and Rodney Milnes, Opera: A Concise History, World of Art, Thames & Hudson. ISBN 0-500-20217-6.
• Price, Curtis A., Henry Purcell and the London Stage,Cambridge University Press, Cambridge, 1984.
• Shay, Robert, and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources Cambridge University Press, Cambridge, 2000.
• Westrup, Jack A., Purcell, Dent & Sons, Londen 1980
• Zimmerman, Franklin B., Henry Purcell, 1659–1695, His Life and Times, University of Pennsylvania Press, Philadelphia PA, 1983
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

External links[link]

Wikimedia Commons has media related to: Henry Purcell

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More spoken articles

• Purcell by John F. Runciman, a biography forming part of Bell's Miniature Series of Musicians published in 1909, from Project Gutenberg
• Free scores by Henry Purcell in the Choral Public Domain Library (ChoralWiki)
• Works by or about Henry Purcell in libraries (WorldCat catalog)
• Free scores by Henry Purcell in the Werner Icking Music Archive (WIMA)
• Free scores by Henry Purcell at the International Music Score Library Project
• The Mutopia Project has compositions by Henry Purcell
• Short biography, audio samples and images of Purcell
• Monument to Purcell
• Harpsichord Suites played on virtual harpsichord
• Dido's Lament – Research leading to a narrative account of how Henry Purcell’s opera Dido and Aeneas was created.
• Henry Purcell at Allmusic

Graham hosting the National Endowment for the Arts Opera Honors in 2008

Susan Graham (born July 23, 1960, Roswell, New Mexico) is an American mezzo-soprano.

Raised in Midland, Texas, she is a graduate of Texas Tech University and the Manhattan School of Music. She studied the piano for 13 years.^[1] She was a winner in the Metropolitan Opera's National Council Auditions, and also a recipient of the Schwabacher Award from the Merola Program of San Francisco Opera.

Graham made her international début at Covent Garden in 1994, playing Massenet's Chérubin.^[2] She has also premièred several roles in contemporary operas, including John Harbison's The Great Gatsby (Jordan Baker), Jake Heggie's Dead Man Walking (Sister Helen Prejean), and Tobias Picker's An American Tragedy (Sondra Finchley).^[3]

Graham is a noted champion of the French song repertoire^[4] and of songs by contemporary American composers, including Ned Rorem and Lowell Liebermann.^[5] Graham made her Carnegie Hall recital debut in April 2003,^[6] and a recording of this recital was later released.

Graham sang "Bless This House" at George W. Bush's second inauguration on January 20, 2005,^[2] and Schubert's "Ave Maria" at the nationally televised funeral mass for Senator Edward M. Kennedy of Massachusetts on August 29, 2009. She is a US delegate for UNESCO.^[7][8]

Opera roles [link]

Graham at the Metropolitan Opera opening in 2008

Her operatic roles include:

• Samuel Barber
  • Vanessa (Erika)^[9][10]
• Hector Berlioz
  • Béatrice et Bénédict (Béatrice) 1997^[11]
  • La damnation de Faust (Marguerite) La Scala, Metropolitan Opera November 2008
  • Les Troyens (Didon) Théâtre du Châtelet, (Paris)
• Christoph Willibald Gluck
  • Iphigénie en Tauride (Iphigénie)^[12]
• Alexander Goehr
  • Arianna (Arianna)^[2]
• Charles Gounod
  • Roméo et Juliette (Stephano) Seattle Opera
• George Frideric Handel
  • Alcina (Ruggerio)^[13]
  • Xerxes (Serse-Title Role)
  • Ariodante Houston Grand Opera, San Francisco Opera
• John Harbison
  • The Great Gatsby (Jordan Baker) 1999^[14]
• Jake Heggie
  • Dead Man Walking (Sister Helen Prejean)
• Franz Lehár
  • The Merry Widow Hanna Glawari (the title character)^[2][15][16]
• Jules Massenet
  • Werther (Charlotte)
  • Chérubin Royal Opera House^[17]
• Claudio Monteverdi
  • L'incoronazione di Poppea (Poppea)
• Wolfgang Amadeus Mozart
  • Così fan tutte (Dorabella)^[2]
  • Don Giovanni (Donna Elvira) Lyric Opera of Chicago^[18]
  • Idomeneo (Idamante) Houston Grand Opera, Palais Garnier, Paris
  • La clemenza di Tito (Sesto) Opéra National de Paris and concert performances^[19]
  • Le nozze di Figaro (Cherubino) Metropolitan Opera
  • Lucio Silla (Cecilio), Santa Fe Opera^[20]
• Tobias Picker
  • An American Tragedy (Sondra Finchley) Metropolitan Opera world première
• Henry Purcell
  • Dido and Aeneas (Sorceress,^[2] Dido)
• Gioachino Rossini
  • Il barbiere di Siviglia (Rosina)
• Richard Strauss
  • Ariadne auf Naxos (Composer) Metropolitan Opera,^[21] Royal Opera House,^[22] and Glyndebourne^[23]
  • Der Rosenkavalier (Octavian)^[2][24]
• Giuseppe Verdi
  • Falstaff (Meg Page)