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Donald Macleod explores the music and life of Henry Purcell. Today, the relatively small but extraordinarily rich body of work he wrote for intimate, domestic settings.

Earlier programmes this week have primarily focused on music for the liturgy, for the theatre, or for some grand occasion or another, all showing us Purcell’s public face. His smaller-scale work – catches, songs, keyboard and chamber music – is generally less well-known, but contains some absolute gems. In a sense, it’s the music that Purcell didn’t have to write.

‘Since the Duke is return’d’, Z271
The Sixteen (Nicholas Mulroy, George Pooley, Jeremy Budd, tenors)
Harry Christophers, conductor

Overture in G, Z770
London Baroque

Suite No 7 in D minor, Z668
Kenneth Gilbert, harpsichord (Couchet-Taskin, Anvers 1671)

Sonata No 7 in E minor, Z796 (Twelve Sonnata’s of III Parts)
Purcell Quartet

‘O! Fair Cedaria, hide those eyes’, Z402
‘I resolve against cringing and whining’, Z386
‘I take no pleasure in the sun’s bright beams’, Z388
‘She loves and she confesses too’, Z413
Maarten Koningsberger, baritone
Fred Jacobs, theorbo

Sonata No 6 in G minor, Z807 (Ten Sonata’s in Four Parts)
The Locke Consort

‘Tell me, some pitying angel’, Z196 (‘The Blessed Virgin’s Expostulation’)
Carolyn Sampson, soprano
Elizabeth Kenny, theorbo
Anne-Marie Lasla, bass viol
Laurence Cummings, harpsichord

Fantasia upon one note, Z745
Hespèrion XXI
Jordi Savall, director

Produced by Chris Barstow for ´óÏó´«Ã½ Cymru Wales.