Ode for - CPDL

Henry Purcell

(1659-1695)

Ode for

St. Cecilia’s Day,

1692 Z. 328

Full Score

Text by

Nicholas Brady

Edited by Edward F. Rimbault (1848)

and David Cameron (1991, 2013

Table of Contents

No. 1 Symphony 2

No. 2 Recit. And Chorus, Hail, bright Cecilia 30

No. 3 Duet (Soprano & Bass) Hark! Each tree its silence breaks 49

No. 4 Air (Alto), ‘Tis Nature’s voice 80

No. 5 Chorus, Soul of the World 84

No. 6 Air (Soprano) and Chorus, Thou tuned’st this world 95

No. 7 Trio (Alto, Tenor & Bass), With that sublime celestial lay 105

No. 8 Air (Bass), Wondrous machine 112

No. 9 Air (Alto), The airy Violin 115

No. 10 Duet (Alto & Tenor), In vain the amorous Flute 120

No. 11 Air (Alto), The Fife and all the Harmony of War 128

No. 12 Duet (Two Basses), Let these among themselves contest 139

No. 13 Chorus, Hail, bright Cecilia 143

Notes 164

Orchestra

Two Trumpets, two Flutes (Recorders), two Oboes, Timpani in A & D, Strings and Continuo

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Trumpet 1& Oboe1

Trumpet in C

Timpani in A & D

Violin I

Violin II

Violoncello

Continuo

Ode for St. Cecilia's Day (1692)Henry Purcell (1659-95)

ScoreHail, bright Cecilia

No. 1, Symphony

Ode for St. Cecilia's Day (1692) No. 1

Canzona (briskly)

5 6 5 6

5 6\ 6

(rit.)

Ode for St. Cecilia's Day (1692) No. 1 13

Oboe 1 only, Trumpet 1 tacet

Oboe 2 only, Trumpet 2 tacet

( = previous )

Original instruction:Repeat the Canzona and the Adagioagain as before and so goe on.

Allegro

Trumpet 1 and Oboe 1

Trumpet 2 and Oboe 2

(rit.)

Oboes only, Trumpets tacet

D.S. al Fine

Violin I, Oboe 1

Violin II, Oboe 2

Violoncello

Soprano

Hail, hail,

(Solo)

Strings only

bright Ce ci lia!

Hail, hail,

bright Ce

Ode for St. Cecilia's Day (1692)

No. 2: Recit & Chorus, Hail, bright Cecilia30

ci lia! Hail,5

Hail, hail,

Oboe and all Violins

bright Ce ci lia!

Hail, hail,

bright Ce ci lia!

- - - - -

- - - -

Ode for St. Cecilia's Day (1692), No. 2 31

Hail, hail,

hail, hail!

Fill ev' ry heart with love of

(Semichorus)

Organ onlyHarpsichord tacet

(Semichorus)

thee and thy ce les

Fill ev' ry heart with love of

6 6 6 6

- - - - -

Ode for St. Cecilia's Day (1692), No. 232

Fill ev' ry

tial art, thy

thee and thy ce les

6 6 6 7 5

(Semichorus)

heart with love of thee and thy ce

ce les tial art:

tial art, with love of

Fill ev' ry

(Semichorus)

Harpsichord play

les tial art, thy ce

fill ev' ry

thee, with love of thee and thy ce

6 6 6\ 6 6 6

(Cello)

(Bass)

(1 desk)

- - --

- - - - -

les tial art, fill ev' ry

heart with love of thee and thy

les tial art, and thy ce

les tial art.

(1 desk,Oboe tacet)

ce les tial art, and thy ce

les tial art.

Fill ev' ry

(Tutti)

les tial art,

Fill ev' ry

heart with love of thee and thy be

6\ 6 6\ 6 6\

- - - - - - -

- - - - - - - --

ce les tial art fillev' ry

les tial art,21

heart with love of thee, fill

les tial

with thy ce les tial

(Chorus)

art: fill ev'ry heart with

ev' ry heart with love of thee;

art, fill ev' ry heart with love of

art. Fill ev' ry

(Chorus)

- - - -

- - - - - - -

- - - -

- - - - - - - - - - -

love of thee and thy

fill ev' ry heart with love of

thee and thy ce les

heart with love of thee, with love of

ce les tial

thee and thy ce les tial

tial, thy ce les tial

7 6 64

Oboe and all Violins

- - - - - - -

6 6 6 6 6\

6 6 6# 6 6

Fill ev' ry

7 6 65

Fill ev' ry

heart with love of thee and thy

ev' ry heart with love of

Fill ev' ry

heart with love of thee and

ce les tial

thee and thy ce les36

thy ce lest tial art.

art. Fill ev' ry

tial art.

les tial

Fill ev' ry

heart with love of thee, with love of

- - - - -

- - - - - - -

art, fill ev' ry

heart with love of thee,

thee, fill ev' ry heart with

ev' ry heart with39

fill ev' ry heart with love of

love of thee and thy

love of thee and

6 4 3\

les tial

ce les tial

thy ce les tial

- - - - -

art: that

art:42

(Solo)

(1 cello, 1 bassBassoon tacet)

thine and Mu

that thine and

(Solo)

Organ onlyHarpsichord tacet

- - - - - - - - - - - -

- - - - - - - - - -

sic's sac red

love may make the Bri tish fo rest

May make the Bri tish fo rest

(Chorus)

prove as fa mous, as fa mous,

prove as fa mous, as

- - - - - -

- - - - - - -

as fa mous as Do do na's

fa mous, fa mous as Do do na's

fa mous, fa mous as Do do na's49

vo cal grove;

(Solo)

thine and Mu

that thine and

(Solo)

(1 cello, 1 bassBassoon tacet)

- - - - - - - - - -

- - - - -

- - - -

- - - - - - -

sic's sac53

sac red love may make the

may make the

red love may make the

(Chorus)

Bri tish fo rest prove as fa mous,

Bri tish fo rest prove as

- - - - - - - - -

- - - - - - - -

as fa mous, as fa mous

fa mous, as fa mous, fa mous

fa mous, as fa maous, fa mous56

as Do do na's vo cal

6 7 64

grove, as fa mous, as

grove, as fa mous, as fa mous,

grove, as fa mous, as

- - - - - - -

- - - - - -

- - - - -

fa mous, as fa mous

as fa mous as fa mous

fa mous, as fa mous

fa mous, as fa mous59

as Do do na's vo cal

grove.

- - - - -

Flute (Recorder) I

Flute(Recorder) II

Violin

Violin II

Soprano

No. 3 Hark! Each tree its silence breaks49

Ode for St. Cecilia's Day No. 350

(Recorders)

Hark!25

Hark! each

tree its

- - - - - - -

breaks;31

Hark! each

tree its

- - - - - - -

breaks, Hark!

Hark! each37

hark, each

tree its

- - - - - -

- - - - - - - -

lence42

breaks.

Hark!, each

tree its

- - - - -

lence54

breaks,

hark! each

tree its

- - - - -

Hark!60

breaks, hark!

hark! each

tree its

- - - - - -

- - - - -

breaks; the

breaks;

Continuo

box and

fir to

box and

- - - - - -

- - - - - - - -

fir to70

to talk,

talk, to

to talk

- - - - - - - - - - -

- - - - - - -

talk, to

to talk75

talk be

hark!80

This is the

spright85

- - - - - - - - - - - - -

Vi o lin,89

that in the

Flute dis

tinct ly, dis

tinct ly

- - - -

speaks, dis

tinct ly, dis

tinct ly

speaks.

This in the

- - - -

spright99

- - - - - - - - - - - - -

Vi o lin,103

That in the

This in the

spright

- - - - - -

tinct ly, dis

Vi o lin, dis

tinct ly

speaks.

- - - -

sym pa thy, 'twas

sym pa thy their

sym pa thy, 'twas

- - - -

list' ning breth ren

sym pa thy, 'twas119

drew, 'twas

pa thy their

- - - - - - - - - -

- - - - - - - - -

pa thy their

list'123

ning breth ren

ing breth ren

drew, when

to the Thra cian

- - - - - - -

lyre with

lea fy wings they

to the Thra cian

lyre, when

to the Thra cian133

lyre with

lea fy wings they

to the Thra cian

lyre with

lea fy wings they

with141

lea fy wings they

flew, when

to the Thra cian

6 5\ 7 8

lyre with

lea fy wings they

Ode for St. Cecilia's Day No. 3 75

with148

lea fy wings they

flew, with

lea fy wings they

lea fy wings they151

Na ture's voice,

'tis Na ture's

voice, thro' all the

wood of crea tures

- - - - - - - - - - - - - -

der stood:

the u ni ver sal

tongue, the u ni ver sal

- - - - - - - - - - - - -

No.4 : Air (Alto), 'Tis Nature's voice80

tongue to none of all her13

num' rous race un

known; from her,

from her it learned the

migh ty, the17

migh ty, the

migh ty

art, to court

- - - - - - - - - -

the ear or21

strike, or strike

heart; at once the

pas sions to ex press, and25

at once the pas sions to ex

- - - -

press, to ex press and28

we hear and strait we

grieve,

hate, and strait we

grieve,

hate, re joice36

love. In

un seen chains it

does the fan cy

6 5 4 3

bind, it43

7 6 7 6

does, it does the

fan cy

bind; at once it

- - - -

charms47

sense and cap

ti vates the

- - - - - - -

mind, at once it51

charms

sense and cap54

ti vates the

Segue Chorus, No. 5

- - - - - - - - - - -

Violin I, Oboe 1

Violin II, Oboe II

Violoncello, Bassoon,

Contrabass

Soprano

Soul of the

world,

Soul of the

world,

Soul of the

world, in

Soul of the

world, in

spired,

world, in

No. 5: Chorus, Soul of the World

spired,

spired

spired by

thee, the jar ring, jar ring

seeds, the jar ring, jar ring

seeds of mat ter

did a gree,

thou didst the

thou didst the scat

- - - -

- - - - - - -

- - - -

thou didst the

ter'd a toms

bind, the scat ter'd,

ter'd a toms bind,

thou didst the scat

- - - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - - - - -

a toms bind,

scat ter'd a toms bind,

thou didst the scat

thou didst the

ter'd a toms bind,

- - - - - - - - -

- - - - - - - -

- - - - - - - - -

- - - - - - - - - - - - -

thou didst the scat

ter'd a toms bind,

thou didst the scat

ter'd, the scat

thou didst the scat

ter'd, scat

- - - - - - - - - - - - - - - -

- - - - - - - - -

- - - - - - -

- - - - - - - - - - - - -

ter'd a toms bind,

which by thy laws of

true pro por tion joined,

which by thy laws of

- - - -

true pro por tion joined,

made up of va

made up of

rious parts,

made up of

- - - - - - - - - - -

- - - - - - -

- - - - - -

parts, made up of

made up of va

rious parts,

va rious parts,

va rious

rious parts,

made up of

made up of va rious

parts, of va

va rious parts,

parts, made up of

rious, va

made up of va

made up of

- - - - - - - - -

- - - -

- - - - - -

rious parts, made

rious parts,

va rious parts, made up of

rious parts34

up of va

made up of va

rious parts, of va rious, va rious

made up of va rious

- - - - - - - - - - -

- - - - - - -

- - - - - - - - - - -

- - - -

parts, one

parts, one37

per fect, one

per fect, one,

per fect, one

per fect,

one per fect,

one per

fect, per fect

har mo ny.

- - - - - - - - - -

- - - - - - - -

- - - - - - - - -

- - - - - - - - - - -

Oboe 1

Oboe 2

Violoncello, Bassoon,

Contrabass

Symphony

Continuo

Bassoon only

No. 6: Air & Chorus, Thou tuned'st this world

Thou tune'st this

Cello only

world, this

world be

low, the

spheres a

bove, the

spheres

which in the

heaven ly

do their

own mu sic

65 4 3

to their

own mu sic

which in the

hea ven ly

do their

own mu sic

9 8 6 6

9 8 6 65

to their

own mu sic

Thou tuned'st this

Chorus

Vc., Cb., Bassoon

world, this

world be

low, the

spheres a

bove, the

bove the

bove, the

shperes a

spheres a

spheres

bove, the

spheres a

which in the

which in their

which in the

which in their

hea ven ly

heav'n ly

hea ven ly

- - - - -

- - - -

to their

own mu sic

to their

- - - - - - - - - - - - -

own mu sic

which in the

heav'n ly

heav'n ly,

heav'n ly

round,

heav'n ly

to their

- - - - - - - - -

own mu sic

- - - - - - - - - - - - - - -

to their

own mu sic

- - - - - - - - - -

With that sub lime ce

With that ce

lay, can a ny

- - - - - - -

- - - - -

earth ly sounds

can a ny earth ly sounds

If a ny earth ly mu sic

dare, the no ble,

- - - -

No. 7: Trio (ATB), With that sublime celestial lay

8 6 7 6 6 4 3 5 4

ble or gan

if a ny earth ly mu sic

dare, if a ny earth ly mu sic

if a ny earth ly mu sic

- - - -

- - - - - -

dare, the no ble

the no ble or gan,

or gan, the no ble,

the no ble, no

- - - - - - - -

- - - - - -

4 6 4 3 2

ble or gan

may. From heav'n its

won drous, won drous

- - - - -

- - - -

From heav'n its

notes were given,

won drous, won drous

notes were given,

Ce ci lia

Ce ci lia oft con vers'd with

oft con vers'd with heav'n, con vers'd with

oft con vers'd with heav'n, Ce ci lia

heav'n, Ce ci lia oft con vers'd with

- - - - -

- - - - - -

- - - - -

oft con vers'd with heav'n, Ce ci lia

heav'n, Ce ci lia oft con vers'd, Ce

heav'n, Ce ci lia oft con vers'd,

oft con vers'd with

ci lia oft con vers'd with

oft con vers'd with

heav'n;

heav'n, some an gel

heav'n.

- - - -

- - - - - - -

- - - -

of the sac cred

quire did with his breath the

pipes in spire,

and of their notes a

bove, the just re sem blance,

the just re sem blance,

the just re

sem blance gace.

- - - - - -

Brisk,

brisk,

brisk without

lightness,with

out dullness

outdullness

out dullness

grave,

grave,with

out dull ness

grave,

brisk,

brisk with out

light ness,

brisk,

brisk with out

light ness, with

out dull ness

grave,

grave, with

- - - -

out dull ness

grave, with

out dull ness

grave.

Oboe 1

Oboe 2

Bassooncontinuo

Won drous,

won drous,6

won drous,

won drous ma

chine!

- - - -

No. 8 : Bass Air, Wondrous machine

Wond rous,11

wond rous,

wond rous ma

chine! To thee the

- - - - -

warb16

- - - - - - - - - - - - - - - -

Lute, tho' used to con quest,18

must beforc'd, must be forc'd, must be forc'd to

yield, must be forc'd, must be forc'd, must be forc'd to20

yield, must be forc'd, must be forc'd to

yield,

with thee un a ble,25

with thee un a ble,

with thee un a

- - - - - - - - -

ble to dis pute,

-- - - - - - - - - - - - - -

tho' us'd to con quest,

is with thee un a35

ble to dis pute.

Wond rous,39

wond rous,

wond rous ma

chine! To thee the

- - - - -

warb44

- - - - - - - - - - - - - - -

Lute, tho' used to con quest,46

must be forc'd, must be forc'd, must be forc'd to

yield, must be forc'd, must be forc'd to

yield, must be forc'd, must be forc'd,must be forc'd to50

yield,

Violin 1

Violin 2

air y,

Vi o lin,

- - - -

air y,

Vi o lin,

and lof ty

- - - - - -

No. 9: Alto Air, The Airy Violin

quit the

field:

vain they tune their

speak ing

strings, in19

vain they tune their

speak ing

strings to

court the cru el

fair, to

court the cru el25

fair, or

praise vic

- - - - - - - - - -

Ode for St. Cecilia's Day (1692)121

ri ous30

Kings;

whilst

all thy35

con se cra ted

lays, whilst

all thy

con se cra ted

- - - - - -

lays are to more40

no ble, no

ble u ses

bent, and

ev' ry grate ful

- - - - -

note to heav'n re45

pays the

me lo dy, the

- - - - -

me lo dy it49

lent, and

ev' ry grate ful

note to heav'n re

pays the

- - - - -

me lo dy, the

Violin I

Violin II

me lo dy, the

me lo dt it

- - - - - -

Ode for St. Cecilia's Day (1692) 123

(Segue Duet)

Flute 1

Flute 2

Very slow

No. 10 : Alto & Tenor Duet, In vain the amorous flute

vain the

5 42 6

Flute, in

vain the

am 'rous

- - - - - - - -

Flute and25

Flute, and

soft Gui

--4 3#

tar joint ly,

- - - - - - - - -

joint ly

joint ly,30

joint ly

- - - - - - - - - - - - - - - -

- - - - - - - - - - - - -

bour to in

spire ar dent

love, to in

love, ar dent,

spire ar dent,

- - - - -

- - - - - - - - -

ar dent, ar

ar dent, ar40

love and

fond de

- - - - -

sire.44

Whilst thy chaste

airs do

gent ly,

gent ly

Whilst thy chaste

airs do

- - - - - -

gent ly,

gent ly,52

gent ly,

gent ly

move se ra phic

- - - - - - - - - - -

- - - - - - - - -

flames and

se ra phic56

heav'n ly

flames and

love, and

heav'n ly

love, se ra phic

- - - - - - -

love, se ra phic

flames and60

flames and

heav'n ly

heav'n

love, heav'n

- - - - - - -

- - - - - -

- - - - - - - - - - - - -

Whilst thy chaste

airs do

gent ly,

- - - - - -

gent ly

Whilst thy chaste

airs do

gent ly,

- - - - - -

gent ly,

gent ly,75

gent ly

move se ra phic

flames and

se ra phic

- - - - - - - -

heav'n ly

flames and79

love, and

heav'n ly

love, se ra phic

flames and

- - - - -

flames and

heav'n ly83

heav'n

love, heav'n

- - - - - - - - - - - - -

- - - - - - - - - - - -

Flute 1

Flute 2

Trumpet I in C

Trumpet II in C

Timpani in D, A

No. 11 Air: The Fife and all the harmony of War

The Fife,

the Fife,

and all, all, all,

all, all the har

mo ny of

Ode for St. Cecilia's Day, 1692 No. 11134

the Fife,

and all, all, all,

all, all the har

mo ny of

and all, all, all,

Ode for St. Cecilia's Day, 1692 No. 11 135

all, all the har

mo ny of

war in vain,

in vain at tempt the

- - - - -

pas sions, the

pas sions to a

- - - -

a larm, a larm, a larm, a

- - - -

in vain at tempt the

pas sions, the

pas sions to a

a larm, a larm, a larm, a

- - - - - -

which thy com

man ding sounds

com pose and

charm,

which thy com man ding

sounds,

- - - -

sounds, sounds,

sounds,

sounds

com pose and

charm;

sounds,

sounds, sounds,

sounds,

sounds

com pose,

com pose and

charm, com pose

Adagio

and charm.

Bass 1

Bass 2

Let these a mong them

selves con test,

7 6 4 3\

selves con test,

let these a

mong them selves con

42 6 7 6

- - - - - -

- - - -

mong them selves con

test, which5

test, which can dis charge its

can dis charge its sin gle du

sin gle du ty

- - - - -

No. 12, Duet for Two Basses, Let these among themselves contest

best, which can dis charge its

ty best, which8

sin gle du

can dis charge its sin gle du

7 6\ 6

- - - - -

- - - - - - -

best; thou summ'st their

thou summ'st their

diff' ring, diff' ring gra ces up in14

diff' ring, diff' ring gra cesup in

one, thou summ'st their

one, thou summ'st their diff' ring,

diff' ring, diff' ring gra ces, summ'st their16

diff' ring gra

diff' ring, diff' ring gra

6 65 6

- - - - - - -

- - - -

ces up in

6 9 664

one, and art a

- - - - - -

Con sort, and art a

and art a Con sort, art a21

Con sort of them all, all, all,

Con sort of them all, all,

all, all, all

with in thy

with in thy24

self a lone,

self a lone, and art a

and art a Con sort, art a

Con sort, and art a

- - - -

Con sort of them all, all, all,

Con sort of them all, all,27

all, all, all, all,

all, all, all

all, all, all with

with in thy self a

in thy self a

lone. Thou summ'st their

Trumpet I in C

Trumpet II

Oboe I

Oboe II

Timpani in D & A

Violin I

Violin II

Cello, Bass& Bassoon

Soprano

No. 13: Chorus, Hail, bright Cecilia148

Hail, hail bright Ce

ci lia, hail to

thee, great,

great,

great, great,

great,

great Pa tro

ness, great

great Pa tro

Pa tro

ness, great Pa tro

great Pa tro

ness of us, of

- - - - - -

- - - -

us, of us, of21

us, of us, of

5 6 7 6

us, great Pa tro

ness, great Pa tro

great Pa tro

8 7 64

ness of us and

of us and

53 4 3

- - - -

- - - - - - - -

Har mo ny.

Har mo ny.25

Har mo ny.

Who whilst a

Whowhile a mongst the Quire a

Sop. 1

Sop. 2

Alto 1

Alto 2

Oboe 1

Oboe 2

Thoudidst thy for mer

Whowhile a

mong the Quire a bove,

bove,who while a mongst the Quire a

Whowhile a mongstthe Quire a

Whowhile a

skill im prove,

mongstthe Quire a bove,

thou didst thy for mer

bove, thou didst thy

- - - -

bove, the Quire a bove,29

mongst the Quire a bove,

who while a29

skill, thou didst thy for mer,

for mer skill im

Oboe 1

Oboe 2

who while a

who while a mongst the Quire a

for mer skill im

prove,

skill im prove,

who while a

bove thou didst thy for mer

prove,

mongst the Quire a bove,32

skill im prove,

who while a

bove, who while a mongst the Quire a

thou didst thy

skill im prove,

thou didst thy for mer,

mongst the Quire a bove, thou didst thy

bove, thou didst thy for mer,

for mer skill im

thou didst thy for mer skill im

for mer skill im

skill im

for mer skill im

- - - -

prove.35

prove.

prove.35

prove.

Trumpet 1

Trumpet 2

Oboe 1

Oboe 2

Who while a mong the Quire a38

Who while a mongst the Quire a

while a

skill im prove,

bove, thou didst thy

mongst the

- - - -

bove, thou didst thy41

skill im prove,

who while a mongst the Quire a41

for mer skill im

Quire a

for mer skill, thou didst thy

thou didst thy

bove, thou didst thy for mer

prove, who while a mongst the Quire a

bove, a

for mer skill, thou didst thy

for mer skill im

skill, thou didst thy for mer

skill, thou didst thy for

bove, a bove,

- - - -

- - - - - -

- - - -

for mer skill im44

prove, thou didst thy for mer skill im

skill im prove, thou

thou didst thy

thou didst thy for mer,

prove, thy for mer skill im

didst thy for mer skill im

mer, for mer skill im

for mer skill im

prove.

prove:

prove.

- - - - - - - -

- - - -

- - - - - - - - - - - -

- - - -

- - - - -

with rap ture,

with rap ture,47

Verse, 4 voicesSLOW

with rap ture,

rap ture

Alto I: may be sungby a soprano

Alto II

rap ture of de

- - - - -

- - - - - -

light dost see50

light dost see

thy fav' rite

art make up a

art make up,

part, a part, thy

part, a part,53

fav' tite art make

fav' rite art make

thy fav' rite

up a part, a

make up a

up, make up a

art make up a

part of

in fi nite, in fi nite,

- - - - - - - - - -

- - - -

in fi nite, in

9 8 7 6

D.C. al Fine

fi nite fe li ci ty.

nite fe li ci ty.

fi nite fe li ci ty.

D.C. al Fine

4 4 3\

- - - - - - - - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - - - -

PURCELL’S ODE FOR ST. CECILIA’S DAY, 1692

This edition of Purcell’s 1692 Ode is largely a transcription of the edition by Edward F. Rimbault , which was published by Chappell’s “for the Members of the Musical Antiquarian Society”, in 1848. Rimbault is best known to students of the organ for the magisterial work he co-authored with Edward J. Hopkins, The Organ: Its History and Construction, which first appeared in 1855. To his editing of the Ode, h e brought the same meticulous care for detail and cclarity of presentation. Concluding his introductory notes in 1848, Rimbault gives the provenance of his edition: “ . . . the following Ode is now for the first time printed, the Editor taking as the text the MS. copy in his possession dated 1699, which is probably the earliest and most authentic copy extant. The figuring of the bass is given verbatim as it appears in the old copy”. As the present edition shows, the figuring of the continuo line is sparse and uneven, with detailed figures in some sections followed by whole movements without figures. The first performance of the Ode took place in Stationer’s Hall, London, on St. Cecilia’s Day, 22 November, 1692. The MS. used by Rimbault lists the eight singers who took part in that first performance, although the MS itself is dated seven years after the event. Those who seek clues to performance practice in such lists must tread carefully here, because these were probably the solo singers: Purcell had a ready source of choral singers, especially trebles, in his choir at Westminster Abbey. The text is by the Anglo-Irish Anglican cleric and poet Nicholas Brady (1659-1726). Brady is probably best remembered as co-author, with Nahum Tate, of the New Version of the Psalms of David (1696) which is usually just called “Tate and Brady”. These metrical translations of the Psalter included some hymns still in active use, for example Through all the changing scenes of life (Psalm 34), and Ye boundless realms of joy (Psalm 148). Probably their most familiar title is not a psalm translation, though it was printed in a supplement to the New Version: the Christmas hymn While Shepherds watched their Flocks by Night. Brady’s libretto for this Ode is based on John Dryden’s 1687 A Song for St. Cecilia. In this edition the opening movement is entitled “Symphony”, because this is more in line with Purcell’s terminology elsewhere, than Rimbault’s term “Introduction”. The original instructions for this movement, which are included, would a produce a very long and perhaps repetitious instrumental piece, so I have ventured to suggest a shorter dal Segno conclusion. Elsewhere a few obvious errors in notation were corrected, and the present editor has produced a continuo realization. For a twenty-first century musician the temptation to add ornamentation has been very great, and a few trills have been added, as noted below. In general however I have preferred to let conductors settle this essential part of a performance while bearing in mind the skills of their musicians. Sometimes we are fortunate enough to have singers and orchestral players who can themselves supply proper ornamentation, but this is not to be taken for granted. This version was written in the summer of 2010, and first performed on the Friday after St. Cecilia’s Day, 26 November, 2010. The editor directed the Melos Choir and Chamber Orchestra of Kingston, Ontario. The orchestra used replica wind instruments, and baroque bows with modern strings (4-4-2-2-1), pitched at A = 415. David Cameron, Kingston, Ontario 30 April 2017

EDITORIAL DETAILS

No. 2 Editorial suggestions are in parentheses ( ), except where specifically noted The suggestions of a reduced choir and orchestra at mm. 13, 18 and 50-51, and the following tutti or Chorus indications are editorial.

m. 43 Reduction of forces for bass instruments, and the following Solo indications for singers, are editorial. Trills were added to the Violin I part in mm. 25, 34, 60, 70, and 78 The addition of Oboes and Bassoon to this movement is editorial. No. 3 Cadential trills were added in mm. 158-159 No. 5 The opening f is editorial No. 6 The suggested assimilation of to is editorial Nos. 7, 8, 9 Generally a single continuo instrument (plus harpsichord) will be best No. 10 Trills are editorial m. 23 The original 6/4 figure is inconsistent with the voice parts, and should have read #4/2

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