The Great Musicians: Purcell

audiobook

The Great Musicians: Purcell

by William Hayman Cummings

EN·~3 hours·5 chapters

Chapters

5 total

PURCELL

0:24

PREFACE.

3:32

PURCELL.

2:26:24

PURCELL'S FAMILY.

29:04

INDEX.

9:55

Description

This study sets out to piece together the fragmented story of one of England’s most celebrated composers, navigating the gaps left by careless chroniclers of the past. The author openly acknowledges the difficulties of missing records, especially those that could have been salvaged by earlier music historians who failed to capture oral recollections from Purcell’s own circle. By scrutinizing the surviving manuscripts, letters, and auction catalogues, the narrative strives for a more reliable chronology of his upbringing, family ties, and early appointments. The work also invites readers to contribute any overlooked details, positioning itself as a living foundation for future scholarship.

Beyond the personal portrait, the book paints a vivid picture of the turbulent musical world of late‑17th‑century England. It recounts how the Commonwealth’s harsh suppression of church and theatre music razed organs, burned service books, and scattered musicians, only for the Restoration to revive a flourishing artistic scene. Within this backdrop, the young composer’s talent shines, offering insight into how he navigated a society eager to reclaim its cultural voice. The author blends careful research with engaging storytelling, giving listeners a clear sense of the era that shaped Purcell’s enduring legacy.

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Details

Language

en

Duration

~3 hours (181K characters)

Publisher of text edition

Project Gutenberg

Credits

Produced by Jane Robins and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

Release date

Jan 19, 2016

Rights

Public domain in the USA.

About the author

William Hayman Cummings

William Hayman Cummings

1831–1915

A Victorian musician with a lasting place in English choral history, he sang at the first performance of Mendelssohn’s Elijah and later became widely linked with the familiar tune used for “Hark! the Herald Angels Sing.” He moved easily between performing, teaching, conducting, and writing about music.

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