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PURCELL Symphony While The Swans Come Forward. Mike Fentross, Johannette Zomer & La Sfera Armoniosa. Challenge Classics SACD

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Purcell Symphony While The Swans Come Forward Challenge Classics Sacd

PURCELL:
SYMPHONY WHILE THE SWANS COME FORWARD


The Prophetess: or The History of Dioclesian, Z.627 -Symphony for trumpets and violins
The Prophetess: or, The History of Dioclesian, Z.627 - First music
The Prophetess: or, The History of Dioclesian, Z.627 - What shall I do to show her how much I love her The Prophetess: or,
The History of Dioclesian, Z.627 - Butterfly dance The Prophetess: or,
The History of Dioclesian, Z.627 - Dance of Furies The Prophetess: or,
The History of Dioclesian, Z.627 - Since from my dear The Prophetess: or,
The History of Dioclesian, Z.627 - Tune for trumpets The Prophetess: or,
The History of Dioclesian, Z.627 - Canaries
The Indian Queen, Z.630 - Air The Indian Queen, Z.630 - I attempt from love’s sickness
The Indian Queen, Z.630 - Hornpipe
King Arthur, Z.628 - Overture
King Arthur, Z.628 - First act tune
King Arthur, Z.628 - Hornpipe
King Arthur, Z.628 - Fairest Isle
King Arthur, Z.628 - Trumpet tune
King Arthur, Z.628 - St. George, the patron of our Isle
King Arthur, Z.628 - Chaconne
The Fairy Queen, Z.629 - Preludio
The Fairy Queen, Z.629 - Hornpipe
The Fairy Queen, Z.629 - Air The Fairy Queen, Z.629 - Rondeau
The Fairy Queen, Z.629 - Symphony while the swans come forward
The Fairy Queen, Z.629 - If love’s a sweet passion
The Fairy Queen, Z.629 - Symphony: Prelude, Canzona, Largo, Allegro, Adagio, Allegro
The Fairy Queen, Z.629 - Ye gentle spirits of the air
The Fairy Queen, Z.629 - Dance for the followers Night
The Fairy Queen, Z.629 - See even night herself is here
The Fairy Queen, Z.629 - Air
The Fairy Queen, Z.629 - Hark! The echoing Air
The Fairy Queen, Z.629 - Grand Dance

MIKE FENTROSS, JOHANNETTE ZOMER & LA SFERA ARMONIOSA

For its debut recording on Challenge Classics, La Sfera Armoniosa and its artistic director Mike Fentross have chosen orchestral music and arias from operas by Henry Purcell. Well-known baroque specialist, soprano Johannette Zomer, joins the orchestra for this live recording.

Mike Fentross: I was really moved when I heard my orchestra play the opening bars of the Purcell. I heard a sound that was quite different to what I knew from other presentday baroque orchestras. Was this sound closer to that of Purcell’s own orchestra, a sound that he may have had in mind when composing this wondrous music? In the very first chat I had about this project with Lidewij van der Voort, our new concertmaster, we talked about the modern adaptations that are often (and understandably) applied to baroque instruments nowadays, and about the possibility of going back to authentic strings (completely bare gut) and a 17th century bow hold (the French grip) for this Purcell project. As it happens, I’d had a similar conversation not long before that with Lidewei de Sterck, our principal oboist, about authentic reeds (scraped from the inside) and with Graham Nicholson, about 17th century trumpets (natural trumpets with no finger holes). These aspects, seemingly just details, have a major impact not just on the sound but also the way of playing and therefore on the way we interpret the music.

Challenge Classics SACD CC72783


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