Shay and Thompson assert a date of c. 1679–81."}},"i":0}}]}"> [lower-alpha 1] Cummings states that Purcell included it in a collection of anthems compiled in 1683. [8] During this time, Purcell had been appointed Organist and Master of the Choristers of Westminster Abbey in 1679 with the resignation of John Blow. [9] He dedicated the next few years entirely to the composition of sacred music. [9] In July 1682, following the death of Edward Lowe, Purcell was appointed organist of the Chapel Royal —an office which he held simultaneously with his position at Westminster Abbey. [10] In his personal life, Purcell had married Frances Peters (or Pieters) who bore him a son that died shortly after birth. [11]
During the 1680s and tenure at Westminster Abbey and the Chapel Royal, Purcell compiled earlier and contemporary sacred music (including several of his own compositions) into one collection for the use of the choirs of both churches. Two extant manuscripts compiled by Purcell are currently held in the collections of the University of Cambridge 's Fitzwilliam Museum. Both manuscripts include Remember not, Lord, our offences. [12] [13] [14]
The choral anthems, including Remember not, Lord, our offences, that Purcell composed after his appointment to Westminster and before his appointment at the Chapel Royal are described as his "last concentrated involvement with the verse anthem without strings." [15] :p.179 After 1681, Purcell began including string accompaniments to his choral anthems—a shift that musicologist Martin Adams attributes to having more resources available to him with his appointment to the Chapel Royal. [15] :p.179 Adams states that the anthems of this period included revisions of earlier works, including his well-known setting of the Anglican funeral sentences, and that these works are "distinguished by complex contrapuntal textures, a concentration on a limited quantity of motivic material, and the somber expression of penitential texts." [15] :p.24 Purcell's anthems reflect the influence of compositional techniques developed by earlier composers William Byrd and Orlando Gibbons. [15] :p.179 These anthems are closely related to those composed by Purcell's friend and teacher, John Blow, "with their basso seguente continuo and severe counterpoint, they are true stile antico." [15] :p.179
Henry Purcell was an English composer. Although he incorporated Italian and French stylistic elements, Purcell's was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, Gustav Holst, William Walton and Benjamin Britten in the 20th century.
John Blow was an English Baroque composer and organist, appointed organist of Westminster Abbey in late 1668. His pupils included William Croft, Jeremiah Clarke and Henry Purcell. In 1685 he was named a private musician to James II. His only stage composition, Venus and Adonis, is thought to have influenced Henry Purcell's later opera Dido and Aeneas. In 1687 he became choirmaster at St Paul's Cathedral, where many of his pieces were performed. In 1699 he was appointed to the newly created post of Composer to the Chapel Royal.
Thomas Tallis was an English Renaissance composer who occupies a primary place in anthologies of English choral music. He is considered one of England's greatest composers, and he is honoured for his original voice in English musicianship.
Orlando Gibbons was an English composer, virginalist and organist who was one of the last masters of the English Virginalist School and English Madrigal School. The best known member of a musical family dynasty, by the 1610s he was the leading composer and organist in England, with a career cut short by his sudden death in 1625. As a result, Gibbons's oeuvre was not as large as that of his contemporaries, like the elder William Byrd, but his compositional versatility led to him having written significant works in virtually every form of his day. He is often seen as a transitional figure from the Renaissance to the Baroque periods.
"I was glad" is a choral introit which is a popular piece in the musical repertoire of the Anglican church. It is traditionally sung in the Church of England as an anthem at the Coronation of the British monarch.
Sir John Goss was an English organist, composer and teacher.
Anglican church music is music that is written for Christian worship in Anglican religious services, forming part of the liturgy. It mostly consists of pieces written to be sung by a church choir, which may sing a cappella or accompanied by an organ.
William Croft was an English composer and organist.
Sir Edward Cuthbert Bairstow was an English organist and composer in the Anglican church music tradition.
Edmund Hooper was an English composer and organist. He was employed at Westminster Abbey from 1588 to 1621 and organist of the Chapel Royal from 1618 to 1621.
Robert Parsons was an English composer of the Tudor period who was active during the reigns of King Edward VI, Queen Mary I and Queen Elizabeth I. He is noted for his compositions of church music.
John Gostling (1644–1733) was a 17th-century Church of England clergyman and bass singer famed for his range and power. He was a favourite singer of Charles II and is particularly associated with the music of Henry Purcell.
Sir John Frederick Bridge was an English organist, composer, teacher and writer.
Alan Gray was an English organist and composer.
John Mundy was an English composer, virginalist and organist of the Renaissance period.
William Turner was a composer and countertenor of the Baroque era. A contemporary of John Blow and Henry Purcell, he is best remembered for his verse anthems, of which over forty survive. As a singer, he was a Gentleman of the Chapel Royal from 1669 until his death.
Media vita in morte sumus is a Gregorian chant, known by its incipit, written in the form of a response, and known as "Antiphona pro Peccatis" or "de Morte". The most accepted source is a New Year's Eve religious service in the 1300s. Reference has been made to a source originating in a battle song of the year 912 by Notker the Stammerer, a monk of the Abbey of Saint Gall, however, the Synod of Cologne declared in 1316 that no one should sing this without the prior permission of the residing bishop.
The English composer Henry Purcell wrote funeral music that includes his Funeral Sentences and the later Music for the Funeral of Queen Mary, Z. 860. Two of the funeral sentences, "Man that is born of a woman" Z. 27 and "In the midst of life we are in death" Z. 17, survive in autograph score. The Music for the Funeral of Queen Mary comprises the March and Canzona Z. 780 and the funeral sentence "Thou knowest, Lord, the secrets of our hearts" Z. 58C. It was first performed at the funeral of Queen Mary II of England in March 1695. Purcell's setting of "Thou knowest, Lord" was performed at his own funeral in November of the same year. In modern performances the March, Canzona and three funeral sentences are often combined as Purcell's Funeral Sentences, Z. 860.
Hear my prayer, O Lord, Z. 15, is an eight-part choral anthem by the English composer Henry Purcell (1659–1695). The anthem is a setting of the first verse of Psalm 102 in the version of the Book of Common Prayer. Purcell composed it c. 1682 at the beginning of his tenure as Organist and Master of the Choristers for Westminster Abbey.
Thou knowest, Lord, the secrets of our hearts, Z. 58, designates two choral settings composed by Henry Purcell. The text is one of the Anglican funeral sentences from the Book of Common Prayer. Early versions began possibly in 1672 and were revised twice before 1680. Purcell composed his last version, in a different style, for the 1695 Music for the Funeral of Queen Mary, Z. 860.