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

2

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

Viola

Violoncello

Continuo

Grave

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

ScoreHail, bright Cecilia

3

No. 1, Symphony

6

6

6

6

6

52

6

7 6\

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

4

11

11

11

11

11

Canzona (briskly)

4 3 6


15

15

15

15

15

4 3\


19

19

19

19

19

7 6

5 6 5 6


7

23

23

23

23

23

5 6\ 6

4 3

65

65

7 7

7 6


8

27

27

27

27

27

7 6\


31

31

31

31

31

5


35

35

35

35

35

6\


39

39

39

39

39

64

53

6


43

43

43

43

43

6 4 3

64

53

(rit.)

(rit.)

(rit.)

(rit.)

(rit.)

rit.

(rit.)

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

47

47

47

47

47

Slow

Slow

Oboe 1 only, Trumpet 1 tacet

Oboe 2 only, Trumpet 2 tacet

( = previous )


55

55

55

55

55


63

63

63

63

63


71

71

71

71

71


79

79

79

79

79


18

87

87

87

87

87

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

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


95

95

95

95

95

Allegro

Trumpet 1 and Oboe 1

Trumpet 2 and Oboe 2


102

102

102

102

102

6

64

-3

63

74

5

64

53

74

-3


109

109

109

109

109

65

7

6


116

116

116

116

116

42

6

7 6

6


123

123

123

123

123

4 3

6

7 6\


130

130

130

130

130

9 8

6


137

137

137

137

137


26

144

144

144

144

144

(rit.)

(rit.)

(rit.)

(rit.)

Fine

Fine

Fine

Fine

Fine


148

148

148

148

148

Grave

Oboes only, Trumpets tacet

Oboes only, Trumpets tacet

5 6

7 65

6


153

153

153

153

153

D.S. al Fine

D.S. al Fine

D.S. al Fine

D.S. al Fine

D.S. al Fine


Violin I, Oboe 1

Violin II, Oboe 2

Viola

Violoncello

Soprano

Alto

Tenor

Bass

Hail, hail,

42

(Solo)

Strings only

bright Ce ci lia!

65

Hail, hail,

42

6

bright Ce

7 6

- - -

Ode for St. Cecilia's Day (1692)

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

5

5

ci lia! Hail,5

hail!

64

53\

Hail, hail,

Hail, hail,

Hail, hail,

Hail, hail,

Tutti

Tutti

Oboe and all Violins


bright Ce ci lia!

bright Ce ci lia!

bright Ce ci lia!

bright Ce ci lia!

64

53\

Hail, hail,

Hail, hail,

Hail, hail,

Hail, hail,

bright Ce ci lia!

bright Ce ci lia!

bright Ce ci lia!

bright Ce ci lia!

- - - - -

- - - -

- - - -

- - - -

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

11

11

Hail, hail,

Hail, hail,

Hail, hail,

Hail, hail,

11

6

hail, hail!

hail, hail!

hail, hail!

hail, hail!

Fill ev' ry heart with love of

(Semichorus)

(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

15

15

Fill ev' ry

tial art, thy

thee and thy ce les

15

6 6\

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

64

5\3\

73

(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)

- -

- -

- - -

- - --

- - -

- - - - -


18

18

les tial art, fill ev' ry

heart with love of thee and thy

les tial art, and thy ce

les tial art.

18

65

64

53

6

(1 desk,Oboe tacet)

(1 desk,Oboe tacet)


ce les tial art, and thy ce

les tial art.

Fill ev' ry

53

64 5

3\

6\

(Tutti)

les

les tial art,

Fill ev' ry

heart with love of thee and thy be

6\ 6 6\ 6 6\

- - -

- - -

- - - - - - -

- - - - - - - --


21

21

ce les tial art fillev' ry


les tial art,21

64

5\3\

tial

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)

(Chorus)

(Chorus)

- - - -

- - - - - - -

- - - -

- - - - - - - - - - -


24

24

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

24

7 6 7

ce les tial

thee and thy ce les tial

tial, thy ce les tial


7 6 64

5\3\

art.

art.

art.

art.



- -

- - - - - - -

- - -

- -


28

28

28

6 6 6 6 6\

6 6 6# 6 6

6 64

5\3\

3 3

6 6 7


33

33

33

7 75

64

43\

6

Fill ev' ry

Fill

7 6 65

Fill ev' ry

heart with love of thee and thy

ev' ry heart with love of

66#

7

-

-

-


36

36

Fill ev' ry

heart with love of thee and

ce les tial

thee and thy ce les36

7


thy ce lest tial art.

art. Fill ev' ry

tial art.

6 64

5\3\

les tial

Fill ev' ry

heart with love of thee, with love of

Fill

-

- - - - -

- - -

- - - - - - -


39

39

art, fill ev' ry

heart with love of thee,

thee, fill ev' ry heart with

ev' ry heart with39

6 5


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

4 3\

- - -

- - - - -

- - -

- - - - -


42

42

art:

art: that

art:

art:42

3

(Solo)

(1 cello, 1 bassBassoon tacet)

thine and Mu

that thine and

(Solo)

Organ onlyHarpsichord tacet

Mu

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

- - - - - - - - - -


46

46

sic's sac red

sic's sac red

46

love may make the Bri tish fo rest

love may make the Bri tish fo rest

May make the Bri tish fo rest

(Chorus)

(Chorus)

(Chorus)

Tutti

prove as fa mous, as fa mous,

prove as fa mous, as

prove as fa mous, as

- - -

- - - - - -

- - - - - - -

-


49

49

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

6 6

that

vo cal grove;

vo cal grove;

vo cal grove;

64

53

(Solo)

thine and Mu

that thine and

(Solo)

(1 cello, 1 bassBassoon tacet)

Mu

- - - - - - - - - -

- - - - -

- - - -

- - - - - - -


53

53

sic's

sic's sac53

sac red love may make the

may make the

may make the

red love may make the

(Chorus)

(Chorus)

(Chorus)

(Chorus)

Tutti

Bri tish fo rest prove as fa mous,

Bri tish fo rest prove as



- - - - - - - - -

- -

- -

- - - - - - - -


56

56

as fa mous, as fa mous

fa mous, as fa mous, fa mous

fa mous, as fa mous, fa mous

fa mous, as fa maous, fa mous56

6

as Do do na's vo cal




6 7 64

53\

grove, as fa mous, as

grove, as fa mous, as fa mous,



- - - - - - -

- - - - - - -

- - -

- - - - - -

- - - - -


59

59

fa mous, as fa mous

as fa mous as fa mous

fa mous, as fa mous

fa mous, as fa mous59

6 6





6 64

4 3\

grove.

grove.

grove.

grove.

- - - - -

- - - - -

- - - - -

- - - - -


46

63

63

63

64 5

3\


68

68

68

6 6

6

6 65

4 3

3

6 6 6

6 65

4 3\


48

Flute (Recorder) I

Flute(Recorder) II

Violin

Violin II

Cello

Soprano

Bass

No. 3 Hark! Each tree its silence breaks49

7

7

7

7

7

Ode for St. Cecilia's Day No. 350

13

13

13

13

13

(Recorders)


19

19

19

19

19

7

7


52

25

25

25

25

Hark!25

Hark! each

tree its

si

7

7

lence

7 7

- - - - - - -


53

31

31

31

31

Hark!

breaks;31

Hark! each

tree its

si

7

7

lence

75\

- - - - - - -


54

37

37

37

37

breaks, Hark!

Hark! each37

hark, each

tree its

5\ 6

tree its

si

6

si

7

7

- - - - - -

- - - - - - - -


42

42

42

42

lence

lence42

75\

breaks.

breaks.

7

7

- - -

- - -


48

48

48

48

48

7 6\

Hark!

Hark!, each

tree its

si

7

7

- - - - -


57

54

54

54

54

lence54

7

Hark!

breaks,

hark! each

tree its

si

7

7

- - - - -

- - -


58

60

60

60

60

lence

Hark!60

75\

breaks, hark!

hark! each

7

hark! each

tree its

5\ 6\

tree its

si

6

si

7

- - - - - -

- - - - -


65

65

65

65

65

7

lence

7

breaks; the

breaks;

Continuo

box and

the

6\

fir to

box and

- - - - - -

- - - - - - - -


70

70

70

70

talk,

fir to70

talk,

97

3

to

to talk,

talk, to

to talk

- - - - - - - - - - -

- - - - - - -


61

75

75

75

75

talk, to

to talk75

talk be

be

7

gin.

gin.

97

Hark!

97

Hark!

hark!

-

-


62

80

80

80

80

hark!

hark!80

97

86

hark!

hark!

97

86

hark!

hark!

97

86

hark!

hark!

This is the

65


85

85

85

85

spright85

97

86

97

86

ly

97

86

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


89

89

89

89

Vi o lin,89

that in the

6 6\

Flute dis

6\

tinct ly, dis

6\

tinct ly

7

- - - -

- -


94

94

94

94

speaks, dis

94

6\5

7

tinct ly, dis

65

7

tinct ly

7 7

speaks.

This in the

4

- - - -


66

99

99

99

99

spright99

5\

ly

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


103

103

103

103

Vi o lin,103

That in the

Flute

This in the

6\

dis

spright

-

- - - - - -


107

107

107

107

tinct ly, dis

ly107

6\5

tinct ly, dis

Vi o lin, dis

tinct ly

tinct ly

speaks.

speaks.

-

- - - -

-

- -

- -

- -


111

111

111

111

111


70

115

115

115

115

115

'Twas

'Twas

sym pa thy, 'twas

sym pa thy their

sym pa thy, 'twas

6

- - - -

- -


119

119

list' ning breth ren

sym pa thy, 'twas119

6 5 6

drew, 'twas

sym

sym

pa thy their

4

- - - - - - - - - -

- - - - - - - - -

123

123

pa thy their

list'123

6

list'

6

ning breth ren

ing breth ren

drew, when

drew,

to the Thra cian

- - - - - - -

- - - - - - -


128

128

lyre with

128

lea fy wings they

6 6

flew

when

to the Thra cian

7

lyre, when

-

-

133

133

to the Thra cian133

lyre with

lea fy wings they

when

flew,

6\

- -


137

137

to the Thra cian

137

lyre with

with

lea fy wings they

lea fy wings they

flew,

flew,

-

- -

141

141

with

with141

lea fy wings they

lea fy wings they

flew, when

flew, when

to the Thra cian

to the Thra cian

6 5\ 7 8

- -

- -


145

145

145

145

lyre with

lyre with

145

lea fy wings they

lea fy wings they

flew,

flew,

-

-

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

148

148

148

148

with

with148

lea fy wings they

lea fy wings they

flew, with

flew, with

-

-


151

151

151

151

lea fy wings they

lea fy wings they151

flew.

flew.

-

-


154

154

154

154

154


78

157

157

157

157

157


Alto

'Tis

Na ture's voice,

'tis Na ture's

voice, thro' all the

- -

5

mov5

42

53

ing

642

65

wood of crea tures

2

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

9

un

9

der stood:

6\

the u ni ver sal

tongue, the u ni ver sal

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

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

13

tongue to none of all her13

64

num' rous race un

3

known; from her,

from her it learned the

- -

17

migh ty, the17

migh ty, the

migh ty

6\7

art, to court

- - - - - - - - - -

21

the ear or21

74\2

strike, or strike

76

the

73\

64

5

4

-3\

heart; at once the

25

pas sions to ex press, and25

move

at once the pas sions to ex

- - - -


28

press, to ex press and28

7 6\

move,

we hear and strait we

3

grieve,

7 65

5

4

653

-

32

or32

54 3

hate, and strait we

grieve,

75

6-

5

4

53

or

4 3

36

hate, re joice36

6

3

-

39

or

39

love. In

un seen chains it

4\2

6

does the fan cy

6 5 4 3

- -


43

bind, it43

7 6 7 6

does, it does the

6

fan cy

65

4 3

bind; at once it

- - - -

47

charms47

32

43

5

4

the

65

76

86\

sense and cap

6

ti vates the

4 3

- - - - - - -

51

mind, at once it51

charms

32

43

5

4

the

65

76

86\

54

sense and cap54

6

ti vates the

Segue Chorus, No. 5

mind.

- - - - - - - - - - -


Violin I, Oboe 1

Violin II, Oboe II

Viola

Violoncello, Bassoon,

Contrabass

Soprano

Alto

Tenor

Bass

Soul of the

Soul of the

world,

Soul of the

Soul of the

world,

Soul of the

world, in

world, in

Soul of the

world, in

spired,

spired,

world, in

-

-

-

-

No. 5: Chorus, Soul of the World

84

5

5

spired,

in

in

spired,

5

in

spired

spired

in

spired by

by

by

spired by

thee, the jar ring, jar ring




- - -

- - -

- - -

- - -


85

9

9

seeds, the jar ring, jar ring




9

seeds of mat ter

seeds of mat ter

seeds of mat ter

seeds of mat ter

did a gree,

did a gree,

did a gree,

did a gree,

thou didst the

thou didst the scat

- - - -

- - - -

- - - - - - -

- - - -


86

13

13

thou didst the

scat

13

scat

ter'd a toms

ter'd

bind, the scat ter'd,

ter'd a toms bind,

thou didst the scat

- - - - - - - - - - -

- - - - - - - - - -

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

- - -


87

16

16

a toms bind,

scat ter'd a toms bind,

thou didst the scat

16

thou didst the scat

thou didst the

scat

ter'd a toms bind,

ter'd a toms bind,

- - - - - - - - -

- - - - - - - -

- - - - - - - - -

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


19

19

thou didst the scat

19

ter'd a toms bind,

thou didst the scat

ter'd, the scat

thou didst the scat

ter'd, scat

ter'd, scat

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

- - - - - - - - -

- - - - - - -

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


89

22

22

ter'd a toms bind,

ter'd a toms bind,

ter'd a toms bind,

ter'd a toms bind,

22

which by thy laws of




true pro por tion joined,








- - - -

- - - -

- - - -

- - - -


90

26

26





26

made up of va

made up of

va

made up of

rious

rious parts,

va

made up of

- - - - - - - - - - -

- - - - - - -

- - - - - -

- -


30

30

parts, made up of

made up of va

rious parts,

va rious parts,

30

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

va

- - - - - - - - -

- - - -

- - -

- - - - - -


34

34

rious parts, made

rious parts,

va rious parts, made up of

rious parts34

up of va

made up of va

va

rious

rious parts, of va rious, va rious

rious

made up of va rious

- - - - - - - - - - -

- - - - - - -

- - - - - - - - - - -

- - - -


37

37

parts, one

parts, one

parts, one

parts, one37

per fect, one

per fect, one

per fect, one

per fect, one,

per fect, one

per fect,

per fect,

one per fect,

per

one

one per

per

per

fect, per fect

fect, per fect

fect, per fect

fect

har mo ny.

har mo ny.

har mo ny.

har mo ny.

- - - - - - - - - -

- - - - - - - -

- - - - - - - - -

- - - - - - - - - - -


Oboe 1

Oboe 2

Violoncello, Bassoon,

Contrabass

Symphony

Symphony

Continuo

Bassoon only

8

8

8

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

95

15

15

15

.

.

23

23

23


30

30

30

30

Thou tune'st this

Solo

Air

Cello only

542

65

world, this

6

world be

4 3\

-

38

38

low, the

38

spheres a

bove, the

6

spheres

a

6

bove,

which in the

6

- -


45

45

heaven ly

45

round

6

do their

own mu sic

65 4 3

move,

- -

52

52

to their

52

own mu sic

65

4 3

move,

which in the

6

hea ven ly

round

- - -

59

59

do their

59

own mu sic

64

4 3

move,

8

7

9 8 6 6

9 8 6 65

7

-


66

66

66

to their

66

own mu sic

6 64

4 3\

move.

Thou tuned'st this

Thou tuned'st this

Thou tuned'st this

Thou tuned'st this

Chorus

Vc., Cb., Bassoon

42

6

world, this

world, this

world be

world be

6

world be

world be

low, the

low, the

54

low, the

low, the

spheres a

spheres a

- -

- -

- -

-


73

73

73

spheres a

spheres a

bove, the

bove, the

73

bove the

bove, the

shperes a

spheres a

6

spheres

spheres

bove, the

bove, the

a

a

spheres a

spheres a

6

bove,

bove,

bove,

bove,

which in the

which in their

which in the

which in their

hea ven ly

heav'n ly

heav'n ly

hea ven ly

- - - - -

- - -

- - - -

- - -


80

80

80

round

round

round

round

80

6

to their

to their

to their

to their

6

own mu sic

own mu sic

own mu sic

own mu sic

65

move,

move,

move,

move,

to their

to their

to their

to their

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

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

-

-


87

87

87

own mu sic

own mu sic

own mu sic

own mu sic

87

move,

move,

move,

move,

which in the

which in the

which in the

which in the

6

heav'n ly

heav'n ly,

heav'n ly

heav'n ly

round,

heav'n ly

round

round

6

round

to their

to their

to their

to their

- - - - - - - - -

- - - - - - - - -

- -

- - -


94

94

94

own mu sic

own mu sic

own mu sic

own mu sic

94

64

53\

move,

move,

move,

move,

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

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

-

-


99

99

99

99

6 6 7

to their

to their

to their

to their

6

own mu sic

own mu sic

own mu sic

own mu sic

64

5

move.

move.

move.

move.

- - - - - - - - - -

- - - - - - - - - -

-

- -


Alto

Tenor

Bass

With that sub lime ce

With that ce

les

les

tial

tial

lay, can a ny

lay,

- - - - - - -

- - - - -

5

earth ly sounds

can a ny earth ly sounds

com

com

\

pare?

pare?

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

7 6

105

9

no

ble or gan

\

if a ny earth ly mu sic

may,

dare, if a ny earth ly mu sic

if a ny earth ly mu sic

- - - -

- - - - - -

- - -

13

dare, the no ble

dare, the no ble

the no ble or gan,

or gan, the no ble,

or gan, the no ble,

the no ble, no

no

no

- - - - - - - -

- - - - - -

- - - - - -


4 6 4 3 2

106

16

ble or gan

ble or gan

ble or gan

may.

may.

may. From heav'n its

won drous, won drous

- - - - -

- - - -

- - -

19

From heav'n its

From heav'n its

notes were given,



notes were given,

notes were given,

Ce ci lia

- -

- -

- -


22

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

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

- - - - -

- - - - - -

- - - - -

24

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.

- - - -

- - - - - - -

- - - -


27

of the sac cred

quire did with his breath the

pipes in spire,

and of their notes a

- - -

31

bove, the just re sem blance,

the just re sem blance,

the just re

sem blance gace.

- - - - - -


35

Brisk,

Brisk,

Brisk,

brisk,

brisk,

brisk,

brisk without

brisk without

brisk without

lightness,with

lightness,with

lightness,with

out dullness

outdullness

out dullness

grave,

grave,

grave,

grave,

grave,

grave,

grave,with

grave,with

grave,with

out dull ness

out dull ness

out dull ness

grave,

grave,

grave,

- - -

- -

- - -

-

45

brisk,

brisk,

brisk,

brisk with out

brisk with out

brisk with out

light ness,

light ness,

light ness,

brisk,

brisk,

brisk,

brisk with out

brisk with out

brisk with out

- - -

- - -

- - -


50

light ness, with

light ness, with

light ness, with

out dull ness

out dull ness

out dull ness

grave,

grave,

grave,

grave,

grave,

grave,

grave, with

grave, with

grave, with

- - - -

- - - -

- - - -

55

out dull ness

out dull ness

out dull ness

grave, with

grave, with

grave, with

out dull ness

out dull ness

out dull ness

grave.

grave.

grave.

- - -

- - -

- - -


Oboe 1

Oboe 2

Bass

Bassooncontinuo

Won drous,

-

6

won drous,6

won drous,

won drous ma

chine!

- - - -

No. 8 : Bass Air, Wondrous machine

112

11

Wond rous,11

wond rous,

wond rous,

wond rous ma

chine! To thee the

- - - - -

16

warb16

ling

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


113

18

Lute, tho' used to con quest,18

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

-

20

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

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


114

22


yield,

25

with thee un a ble,25

with thee un a ble,

with thee un a

- - - - - - - - -


28

28

ble to dis pute,

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

31

31

tho' us'd to con quest,

tho' us'd to con quest,

- -


35

is with thee un a35

ble to dis pute.

-- -

39

Wond rous,39

wond rous,

wond rous,

wond rous ma

chine! To thee the

- - - - -


44

warb44

ling

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

46

Lute, tho' used to con quest,46

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

-


48


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

50

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

yield,


Violin 1

Violin 2

Alto

The

air y,

air y

Vi o lin,

- - - -

7

The7

air y,

air y

Vi o lin,

and lof ty

5 6\

Vi ol

6

- - - - - -

No. 9: Alto Air, The Airy Violin

120

13

quit the

13

6 6

453

field:

6

64

53

in

vain they tune their

6

speak ing

7 6\

-

19

strings, in19

- 64

vain they tune their

6

speak ing

7 6

strings to

64

court the cru el

6

fair, to

4

- -

25

court the cru el25

7

fair, or

64\

praise vic

6 6\

to

6

7 6

- - - - - - - - - -

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

30

ri ous30

64

5

4 3\

Kings;

6

6 6

6 64

73\

whilst

- - -

35

all thy35

64

con se cra ted

6

lays, whilst

all thy

con se cra ted

64

- - - - - -

40

lays are to more40

no ble, no

ble u ses

64

bent, and

6

ev' ry grate ful

6

- - - - -


45

note to heav'n re45

7 6\

pays the

me lo dy, the

6

me lo dy, the

6

- - - - -

49

me lo dy it49

lent, and

ev' ry grate ful

note to heav'n re

pays the

- - - - -

54

me lo dy, the

54

6

Violin I

Violin II

me lo dy, the

6

me lo dt it

lent;

- - - - - -

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

58

58

6

6

(Segue Duet)

( )


Flute 1

Flute 2

Very slow

6

6

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

125

11

11

16

16

In

Tenor

Alto

vain the

am

42 6

- - -

20

20

5 42 6

'rous

6

In

Flute, in

64

vain the

vain the

am

am 'rous

43#

- - -

- - - - - - - -


25

Flute and25

'rous

soft,

Flute, and

6 5

6

soft Gui

soft Gui

--4 3#

tar joint ly,

tar

- - - - - - - - -

-

30

joint ly

joint ly,30

56

la

joint ly

6 6

la

65

6

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

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

35

35

bour

bour to in

to in

spire ar dent

6

spire ar dent

love, to in

love, ar dent,

spire ar dent,

- - - - -

- - - - - - - - -

- - -


40

ar dent, ar

ar dent, ar40

dent

dent

love and

love and

6

fond de

fond de

64

4 3

-

-

- - - - -

-

-

- - - - -

44

sire.

sire.44

Whilst thy chaste

airs do

gent ly,

- - -

48

gent ly,

48

gent ly

move,

Whilst thy chaste

do

airs do

- - - - - -


52

gent ly,

gent ly,52

gent ly,

gent ly,

gent ly

gent ly

move se ra phic

move

- - - - - - - - - - -

- - - - - - - - -

56

flames and

se ra phic56

heav'n ly

flames and

4 3

love, and

heav'n ly

7 6 6

heav'n ly

love, se ra phic

98

- - - - - - -

- - - - - - -

60

love, se ra phic

flames and60

6

flames and

heav'n ly

7 6

heav'n

love, heav'n

#7

64 6

- -

- - - - - - -

- - - - - -


63

63

ly

ly

love.

love.

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

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

67

Whilst thy chaste

67

675

airs do

gent ly,

7 6#

gent ly,

4

6

- - - - - -

71

gent ly

71

move,

Whilst thy chaste

do

airs do

6

gent ly,

gent ly,

- - - - - -

- - -


75

gent ly,

gent ly,75

6

gent ly

gent ly

move se ra phic

move

flames and

se ra phic

- - - - - - - -

- - - - - - - -

79

heav'n ly

flames and79

4 3

love, and

heav'n ly

7 6 6

heav'n ly

love, se ra phic

98

love, se ra phic

flames and

6

- - -

- - - - -

- - - - -

83

flames and

heav'n ly83

7 6

heav'n

love, heav'n

#

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

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


87

ly

ly87

love.

love.

Flute 1

Flute 2

- - -

- - -

92

92

96

96


Trumpet I in C

Trumpet II in C

Timpani in D, A

Alto

4

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

133

7

The Fife,

the Fife,

and all, all, all,

42

6

all, all the har

7 6\5

6

-

11

mo ny of

6 65

war,

- - -

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

15

the Fife,

the Fife,

and all, all, all,

all, all the har

-

19

mo ny of

war.

and all, all, all,

- - -

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

23

all, all the har

mo ny of

war in vain,

in vain at tempt the

- - - - -

27

pas sions, the

pas sions, the

pas sions to a

5 6\

- - - -


30

larm

a larm, a larm, a larm, a

larm,

- - - -

33

in vain at tempt the

42

pas sions, the

6

pas sions, the

- - -


36

pas sions to a

5 6\

larm,

a larm, a larm, a larm, a

- - - - - -

39

larm,

which thy com

man ding sounds

6

6

64

- -


43

com pose and

7 6

charm,

42

7 6

-

47

which thy com man ding

sounds,


sounds,

- - - -


51

sounds, sounds,

sounds,

54

sounds


57

com pose and

charm;


- - -

60

sounds,


sounds,

- -


63

sounds, sounds,

sounds,

66

sounds

com pose,

-


69

com pose and

charm, com pose

7

Adagio

Adagio

and charm.

4 3

- -

72

4 3


Bass 1

Bass 2

Let these a mong them

42 6

Let these a mong them

selves con test,

7 6 4 3\

selves con test,

let these a

let these a

mong them selves con

42 6 7 6

- - - - - -

- - - -

5

mong them selves con

test, which5

4 3

test, which can dis charge its

can dis charge its sin gle du

sin gle du ty

64

53

- -

- - - - -

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

144

8

best, which can dis charge its

ty best, which8

4 3

sin gle du

can dis charge its sin gle du

5 42

6

7 6\ 6

- - - - -

- - - - - - -

11

ty

ty

11

7 6

best;

best;

1

1

. .

.

1

best; thou summ'st their

64

2

2

2

- - -

- - -

14

thou summ'st their

diff' ring, diff' ring gra ces up in14

6 6

diff' ring, diff' ring gra cesup in

one, thou summ'st their

6

- - -

- - -


6

145

16

one, thou summ'st their diff' ring,

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

665 6

diff' ring gra

diff' ring, diff' ring gra

6 65 6

4

- - - - - - -

- - - -

18

18

64

7

ces up in

ces up in

6 9 664

5

one, and art a

one,

- - - - - -

- - - - - -

21

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

all, all, all

- -

- -


24

with in thy

with in thy24

self a lone,

self a lone, and art a

4 3

and art a Con sort, art a

Con sort, and art a

- - - -

- - - -

27

Con sort of them all, all, all,

Con sort of them all, all,27

all, all, all, all,

all, all, all, all,

all, all, all

all, all, all with

- -

-

30

with in thy self a

in thy self a

30

lone.

lone. Thou summ'st their

64 6

1

1

1

lone.

lone.

2

2

2

- -

- - -


Trumpet I in C

Trumpet II

in C

Oboe I

Oboe II

Timpani in D & A

Violin I

Violin II

Viola

Cello, Bass& Bassoon

Soprano

Alto

Tenor

Bass

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!

No. 13: Chorus, Hail, bright Cecilia148

5

5

5

5

5

5

5

5

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!

Hail!


9

9

9

9

9

9

9

Hail!

Hail!

Hail!

Hail!

9

Hail!

Hail!

Hail!

Hail!

Hail, hail bright Ce




-

-

-

-


13

13

13

13

13

13

13

ci lia, hail to

ci lia, hail to

ci lia, hail to

ci lia, hail to

13

7 6\

thee,

thee,

thee,

thee, great,

great,

great,

great, great,

great,

great,

great,

-

-

-

-


17

17

17

17

17

17

17

great Pa tro

great Pa tro

17

66

6 6\

ness, great

great Pa tro

great Pa tro

ness,

8 764

Pa tro

ness, great Pa tro

ness, great Pa tro

great Pa tro

5 64

6 6

ness of us, of

ness of us, of

ness of us, of

ness of us, of

6

- - - - - -

- - - -

- - - -

- - - -


21

21

21

21

21

21

21

us, of us, of21

us, of us, of21

us, of us, of

us, of us, of

21

5 6 7 6

us, great Pa tro

us,

us,

us, great Pa tro

6 6\

ness, great Pa tro

great Pa tro

great Pa tro

ness

8 7 64

ness of us and

ness of us and

ness of us and

of us and

53 4 3

- - - -

- -

- -

- - - - - - - -


25

25

25

25

25

25

25

Har mo ny.

Har mo ny.25

Har mo ny.

Har mo ny.

25

Fine

Fine

Fine

Who whilst a

Whowhile a mongst the Quire a

Sop. 1

Sop. 2

Alto 1

Alto 2

Tenor

Bass

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

- -

- -

- -

- -

- -

-

-

- -

-

- -

- - - -

-


29

29

29

29

bove, the Quire a bove,29

mongst the Quire a bove,

who while a29

skill, thou didst thy for mer,

for mer skill im

29

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,


-

-

- - -

-

-

- -

- -

- - -

- -

- - -

-

-


32

32

32

32

32


mongst the Quire a bove,32

skill im prove,

who while a

bove, who while a mongst the Quire a

32

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,

6

for mer skill im

thou didst thy for mer skill im

for mer skill im

skill im

for mer skill im

for mer skill im

4 3\

- - - -

- -

- -

- - -

- - -

- -

- -

- -

- -

-

- -


35

35

35

35

35

35

prove.35

prove.

prove.35

prove.

prove.

prove.

35

Trumpet 1

Trumpet 2

Oboe 1

Oboe 2

6 7


38

38

38

38

38

38

38

Who while a mong the Quire a38

Who

38

bove,


Who while a mongst the Quire a

while a

4 3



skill im prove,

bove, thou didst thy

mongst the

- - - -

- -

- - -

- -

- - -

- -


41

41

41

41

41

41

bove, thou didst thy41

skill im prove,

who while a mongst the Quire a41

for mer skill im

Quire a

41

7 6 5

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,

bove,

-

-

-

- - - -

- - -

- - - -

- -

- - - - - -

- - - -

-

- - -


44

44

44

44

44

44

for mer skill im44

prove, thou didst thy for mer skill im

skill im prove, thou

44

thou didst thy

thou didst thy for mer,

44

64

prove, thy for mer skill im

prove, thy for mer skill im

didst thy for mer skill im

mer, for mer skill im

for mer skill im

for mer skill im

6 4 3

prove.

prove.

prove:

prove:

prove:

prove.

- - - - - - - -

- - - -

- - -

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

- - - -

- - - - -


47

47

with rap ture,

with rap ture,47

Verse, 4 voicesSLOW

with rap ture,

with rap ture,

rap ture

rap ture

Alto I: may be sungby a soprano

Alto II

rap ture of de

rap ture of de

of de

of de

42

6

- - - - -

- - - - -

- - - - - -

- - - - - -

50

light dost see50

light dost see

light dost see

light dost see

50

67

thy fav' rite

thy fav' rite

67

thy fav' rite

art make up a

art make up a

-

-

-


53

thy53

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

42

7 6

-

-

-

56

part of

56

part of

part

part

56

in fi nite, in fi nite,


of

of

64

5

in

in



6 6\

- - - - - - - - - -

- - - - - - - - - -

- - - -

- - - -


59

59

in fi

in fi nite, in

59

9 8 7 6

D.C. al Fine

D.C. al Fine

fi nite fe li ci ty.


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.

https://en.wikipedia.org/wiki/Tate_and_Brady

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

Ode for - CPDL

Documents

Transcript of Ode for - CPDL