Henry Purcell - Love's Goddess Sure Was Blind (1994)

Two Latin Motets
01. Jehova, quam multi sunt hostes mei 
02. Two Latin Motets - Miserere Mei 

Funeral Sentences
03. Man that is born of a woman
04. In the midst of life 
05. Thou knowest, Lord, the secrets of our hearts

Elegy on the Death of Queen Mary
06. Incassum, Lesbia, incassum rogas 

Ode for Queen Mary's Birthday, 1692
07. Love's Goddess Sure was Blind) - Symphony 
08. Love's Goddess sure was blind this day
09. Those eyes, that form, that lofty mien 
10. Sweetness of nature, and true wit 
11. Long may she reign over this Isle 
12. May her blast example chase 
13. Many such days may she behold 
14. May she to Heaven late rerturn 

Elegy on the Death of Queen Mary
15.  O dive custos auricae domus 

The Complete Funeral Music for Queen Mary
16. The Queen's Farewell (James Paisible) 
17. March (Purcell) 
18. The Queen's Farewell (Thomas Tollett) 
19. March (Purcell) 
20. I am the resurrection and the life (Thomas Morley
21. I know that my Redeemer liveth (Morley) 
22. We brought nothing into this world (Morley) 
23. Man that is born of a woman (Morley)
24. In the midst of life (Morley) 
25. Thou knowest, Lord, the secrets of our hearts (Purcell)
26. Canzona (Purcell) 
27. I heard a voice from Heaven (Morley)

The Symphony Of Harmony And Invention
Harry Christophers – director

When we last left Harry Christophers and his cracker jack a cappella chorus the Sixteen, they were making fabulous recordings for the wonderful Collins label. But that was back in the halcyon days of the CD boom, those far off times called the '90s, when everyone with a little capital and a lot of taste could start a record label. Back in the '90s, Christophers and the Sixteen made more than a dozen wonderful recordings for Collins, among them one of the most moving recordings of Henry Purcell's Music for the Funeral of Queen Mary ever made. But the digital boom went bust and so did Collins, taking with it all of Christophers and the Sixteen's discs.

But now, in the middle of the 2000s, they're back, and they've brought with them an even more wonderful recording of Purcell's funeral music. It's more wonderful because, good as the Collins recording sounded, this Coro recording sounds even better: deeper, richer, warmer, and even more detailed. It's more wonderful because, good as the earlier performances were, these performances sound even better: more passionate, more precise, and even more powerful. And it's more wonderful because while this is exactly the same recording that appeared on Collins, it somehow sounds more wonderful released on the Coro label. How this is possible is impossible to know, but that it does is indisputable. If you don't have Harry Christophers and the Sixteen's Music for the Funeral of Queen Mary, here it is again. This time, don't miss it. --- James Leonard, Rovi

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