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Donald Macleod explores Purcell’s turbulent early years amidst a plague that killed a quarter of London’s population, which was swiftly followed by the Great Fire of London.

This week of programmes sets Purcell’s work during his short life in the context of the turbulent times in which he lived.

Purcell was a chorister in a court that often couldn’t afford to clothe its choirboys, Charles II occasionally having to borrow the money from his own choirmaster. Purcell was taught by John Blow and Matthew Locke, replacing Locke when he died and becoming ‘composer in ordinary’ at the court.

The Restoration of the British monarchy triggered an explosion of culture, with music restored to the court after its banishment under Oliver Cromwell. Purcell was at the heart of royal life, and was swiftly appointed organist at Westminster Abbey, then of the Chapel Royal, and Keeper of the King’s Instruments.

Today, we hear the political intrigue surrounding Purcell, amidst his earliest music, including - in 1680 alone - his first stage work, Theodosius; his first royal ‘welcome’ ode; and his first dazzling collection of chamber music.

Blow up the trumpet in Sion, Z10
Laurence Cummings, organ
Oxford Camerata
Jeremy Summerly, conductor

Welcome, vicegerent of the mighty king, Z340
Barbara Borden, soprano
Belinda Sykes, soprano
Steve Dugardin, countertenor
Douglas Nasrawi, tenor
Harvey Brough, tenor
Harry van der Kamp, bass
Simon Grant, bass
Tragicomedia

Jehova, quam multi sunt hostes mei, Z135
Maldwyn Davies, tenor
John Tomlinson, bass
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor

Sonata a 4 No. 4 in D minor, Z805
London Baroque

Theodosius, or The Force of Love, Z606
The gate to bliss
Sad as death at dead of night
Hail to the Myrtle Shade
Dream No More of Pleasures Past
Ah! Cruel, Bloody Fate
Judith Nelson, soprano
Emma Kirkby, soprano
Academy of Ancient Music
Christopher Hogwood, conductor

Produced by Iain Chambers