작곡가

:   Henry Purcell (헨리 퍼셀)

장르

:  

Vocal

스타일

:  

Opera

작곡년도

:   1689

평균연주

:   125:33

악장

1

Act 1 : No. 1a. First music: Prelude

2:20

2

Act 1 : No. 1b. Hornpipe

1:04

3

Act 1 : No. 2a. Second music: Air

1:17

4

Act 1 : No. 2b. Rondeau

1:27

5

Act 1 : No. 3. Overture

2:07

6

Act 1 : No. 4a. Prelude

null

7

Act 1 : No. 4b. Come let us leave the town

2:12

8

Act 1 : No. 5a. Prelude

0:26

9

Act 1 : No. 5b. Fill up the bowl

6:32

10

Act 1 : No. 5c-d. Trip it in a ring

null

11

Act 1 : No. 5e. Enough, enough: we must play

null

12

Act 1 : No. 5f. About him go

null

13

Act 1 : No. 5g. Hold, you damned tormenting punk

null

14

Act 1 : No. 5h. I'm drunk

null

15

Act 1 : No. 5i. If you will know it

null

16

Act 1 : No. 5j. Pinch him for his crimes

null

17

Act 1 : No. 5k. I confess

null

18

Act 1 : No. 5l. Drive 'em hence

null

19

Act 1 : No. 6. First Act tune: Jig

1:08

20

Act 2 : No. 7a. Prelude

1:15

21

Act 2 : No. 7b. Come all ye songsters

2:22

22

Act 2 : No. 8a. Prelude

1:04

23

Act 2 : No. 8b. May the god of wit inspire

1:55

24

Act 2 : No. 8c. Echo

1:47

25

Act 2 : No. 9. Now join your warbling

1:26

26

Act 2 : No. 10a-b. Sing while we trip it

2:24

27

Act 2 : No. 10c. Sing while we trip it

null

28

Act 2 : No. 11a. Prelude

null

29

Act 2 : No. 11b. See, even Night herself is here

5:47

30

Act 2 : No. 12. I am come to lock all fast

0:52

31

Act 2 : No. 13a. Prelude

null

32

Act 2 : No. 13b. One charming night

2:23

33

Act 2 : No. 14a-b. Hush no more

3:32

34

Act 2 : No. 15. Dance for the followers of Night

1:58

35

Act 2 : No. 16. Second Act Tune

1:26

36

Act 3 : No. 17a. Prelude

1:45

37

Act 3 : No. 17b-c. If love's a sweet passion

4:01

38

Act 3 : No. 18. Symphony. Grave - Canzona

1:36

39

Act 3 : No. 19. Dance for the fairies

1:08

40

Act 3 : No. 20. Dance for the Green Men

1:39

41

Act 3 : No. 21a. Ye gentle spirits of the air

5:06

42

Act 3 : No. 21b. Catch and repeat

null

43

Act 3 : No. 22a. Prelude

null

44

Act 3 : No. 22b. Now the maids and the men: a. Now the maids and the men - b. Dialogue between Corydon and Mopsa

4:04

45

Act 3 : No. 22c. Nay, what do you mean

null

46

Act 3 : No. 23. When I have often heard

2:38

47

Act 3 : No. 24a. Dance for the haymakers

1:01

48

Act 3 : No. 24b. Dance for a Clown (music lost)

null

49

Act 3 : No. 25a-b. A thousand ways we'll find

2:24

50

Act 3 : No. 26. Third Act tune: Hornpipe

1:12

51

Act 4 : No. 27. Sonata while the sun rises. Grave - Largo - Allegro - Adagio

3:34

52

Act 4 : No. 28a. Now the night is chas'd away

2:33

53

Act 4 : No. 28b. All salute the rising sun

null

54

Act 4 : No. 28c. Ritornello

null

55

Act 4 : No. 29. Let the fifes and the clarions

1:41

56

Act 4 : No. 30. Entry of Phoebus

0:40

57

Act 4 : No. 31a. Prelude

null

58

Act 4 : No. 31b. When a cruel long winter

2:59

59

Act 4 : No. 31c. 'Tis I who give life

null

60

Act 4 : No. 32a. Hail, great parent

5:00

61

Act 4 : No. 32b. Light and comfort

null

62

Act 4 : No. 32c. Hail, great parent

1:52

63

Act 4 : No. 32d. Thou who giv'st all

null

64

Act 4 : No. 33a. Prelude

null

65

Act 4 : No. 33b. Thus the ever grateful spring

2:22

66

Act 4 : No. 34a. Prelude

null

67

Act 4 : No. 34b. Here's the summer sprightly gay

1:29

68

Act 4 : No. 35a. Prelude

null

69

Act 4 : No. 35b. See my many colour'd fields

2:55

70

Act 4 : No. 36a. Prelude

null

71

Act 4 : No. 36b. Next, winter comes slowly

3:13

72

Act 4 : No. 37. Hail, great parent

2:09

73

Act 4 : No. 38a. Fourth Act Tune. Air

1:02

74

Act 5 : No. 39a. Prelude to Juno's Song

1:11

75

Act 5 : No. 39b. Thrice happy lovers

2:56

76

Act 5 : No. 39c. Be to one another true

null

77

Act 5 : No. 40a-b. O let me weep [The Plaint]

7:11

78

Act 5 : No. 41. Entry dance

1:24

79

Act 5 : No. 42a. Symphony

1:03

80

Act 5 : No. 42b. [Symphony]

null

81

Act 5 : No. 42c. [Symphony]

null

82

Act 5 : No. 43. Thus the gloomy world at first began to shine

5:50

83

Act 5 : No. 44a. Prelude

null

84

Act 5 : No. 44b-c. Thus happy and free

1:12

85

Act 5 : No. 45a. Ground

null

86

Act 5 : No. 45b. Yes Daphne (Xansi), in your looks I find

2:09

87

Act 5 : No. 46a. Monkey's dance

1:08

88

Act 5 : No. 46b. Monkey's dance

null

89

Act 5 : No. 47a. Prelude

null

90

Act 5 : No. 47b. Hark how all things in one sound agree

2:39

91

Act 5 : No. 48a. Prelude

4:20

92

Act 5 : No. 48b-c. Hark! the ech'ing air

2:54

93

Act 5 : No. 49a. Sure the dull god of marriage

2:44

94

Act 5 : No. 49b. Hymen! appear

null

95

Act 5 : No. 49c. Hymen! appear

null

96

Act 5 : No. 49d. Our Queen of Night

null

97

Act 5 : No. 49e. Our Queen of Night

null

98

Act 5 : No. 50a. Prelude

0:48

99

Act 5 : No. 50b. See, I obey

2:19

100

Act 5 : No. 50c. Turn, then thine eyes

1:11

101

Act 5 : No. 50d. My torch indeed will from such brightness shine

0:49

102

Act 5 : No. 50e-f. They shall be as happy

1:19

103

Act 5 : No. 51. Dance for the Chinese Man and Woman: Chaconne

2:44

The Fairy-Queen (1692; Purcell catalogue number Z.629) is a masque or semi-opera by Henry Purcell; a "Restoration spectacular". The libretto is an anonymous adaptation of William Shakespeare's wedding comedy A Midsummer Night's Dream. First performed in 1692, The Fairy-Queen was composed three years before Purcell's death at the age of 35. Following his death, the score was lost and only rediscovered early in the twentieth century. Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernised in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally. Many critics have stated erroneously that they bear no relationship to the play, but recent scholarship has shown that the opera, which ends with a masque featuring Hymen, the God of Marriage, was actually composed for the fifteenth wedding anniversary of William and Mary. Growing interest in Baroque music and the rise of the countertenor contributed to the work's re-entry into the repertoire. The opera received several full-length recordings in the latter part of the 20th century and several of its arias, including "The Plaint" ("O let me weep"), have become popular recital pieces. In July 2009, in celebration of the 350th anniversary of Purcell's birth, The Fairy-Queen was performed by Glyndebourne Festival Opera using a new edition of the score, prepared for the Purcell Society by Bruce Wood and Andrew Pinnock.
The Fairy-Queen was first performed on 2 May 1692 at the Queen's Theatre, Dorset Garden in London by the United Company. The author or at least co-author of the libretto was presumably Thomas Betterton, the manager of Dorset Garden Theatre, with whom Purcell worked regularly. This belief is based on an analysis of Betterton's stage directions. A collaboration between several playwrights is also feasible. Choreography for the various dances was provided by Josias Priest, who also worked on Dioclesian and King Arthur, and who was associated with Dido and Aeneas.

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