Purcell was born in St Ann’s Lane, Westminster. His father was a member of the Chapel Royal. Henry was the oldest of three sons. Once his father had died in 1664 Purcell was taken in to the home of his nice uncle. Purcell studied under Captain Henry Cooke and then his successor Pelham Humfrey. After the death of Humfrey Dr. John Blow took over teaching Henry.
It is rumored that Purcell had been composing since the age of nine, though his earliest recognised work was “ode for the King’s birthday” written in 1670. From a letter found, written by Thomas Purcell, his uncle, we are able to tell that the composition was actually wrote for the voice of John Gostling, with a range of two full octaves.
Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Dido and Aeneas never found its way to the theatre, though it appears to have been very popular among private circles.
Henry Purcell
Purcell was born in St Ann’s Lane, Westminster. His father was a member of the Chapel Royal. Henry was the oldest of three sons. Once his father had died in 1664 Purcell was taken in to the home of his nice uncle. Purcell studied under Captain Henry Cooke and then his successor Pelham Humfrey. After the death of Humfrey Dr. John Blow took over teaching Henry.
It is rumored that Purcell had been composing since the age of nine, though his earliest recognised work was “ode for the King’s birthday” written in 1670. From a letter found, written by Thomas Purcell, his uncle, we are able to tell that the composition was actually wrote for the voice of John Gostling, with a range of two full octaves.
Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Dido and Aeneas never found its way to the theatre, though it appears to have been very popular among private circles.