many awesome tavern songs, damm it would be so much fun to see what he could do for us!!

Klaus Liebig Yes, you are right! Compare this piece to "Les Plaisirs Ont Choisi Pour Asile" by Lully, also a passacaille, from his opera Armide. The likeness is obvious. Lully lived before Purcell, so Purcell was probably familiar with Lully's works. And there was no copyright in the 1600's! Also, I much prefer the interpretation of Purcell's passacaille with Concert Spirituel and Hervé Niquet. It sounds much more alive to me.

John Forsberg Barrett Thanks John !! By the time, I'm performing Armida here in Buenos Aires...

Sounds more sweeter the Lully

​@@johnforsbergbarrett923 I write now in reply to a comment you have made six years before to dispute the claim you have made in the same―that this song and Lully's are in actuality the same and, hence, that Purcell has plagiarized Lully; In my opinion, they do sound _similar_ , but, then again, two songs written in the same style (as you yourself have noted) would! To determine whether Purcell has actually plagiarized Lully or not, however, the actual similitude in structural composition of the two songs must be established, and they, as far as can be judged be me, are distinctly different. I implore you (not you really but anyone who is reading this rather) to listen to the two songs side by side. You will notice, again, that they do sound similar but that they, however, *don't* sound the same. Contrast this with the relation between Vivaldi's La Follia and Handel's Sarabande and you will find that detecting their sameness is easier―as they are based on the same folk theme, the famous _Follies of Portugal_ , which has been used by lots of other composers such as Bach and Corelli―even though they each have their own, and very distinct, moods, because their underlying structure is the same. I doubt you will respond to this post but, again, this was meant more for anyone who happens upon this thread.

England, my England - The Story of Henry Purcell

@@denynugrahaa1755 Thank you for replying, after all these years.

@@nni9310 haha, yes

pbosf.blogspot.co.uk/2010/01/story-of-more-about-baroque-pitch.html

Because are preformed on period instruments, which means a half tune lower

He is an haute-contre

She's probably there as the old man's concubine.

Point one: This was how operas were back then. Point two: Black people existed in the UK, albeit rarely, in the 1600s. As far back as the 1500s we have records of them. Henry VIII's trumpeter known as 'Black Henry' and was an African. In 1601, Queen Elizabeth I received numerous complaints about the large 'Blackamoor' communities in London (as black people were known in the UK) of the West African quarters near the port areas were loud and apparently annoyed other locals. There was very nearly a warrant drafted to have them mass deported. In the end it didn't happen. Black migrant freemen and their families lived in London and Liverpool primarily as these were port cities, close to where they could catch ships back and forth between Africa and the UK. British slave plantations were fully off-shore, and existed in the Caribbean in its entirety, so the small black community you would have seen back then in the UK were mostly working class and middle class merchants. There are numerous pictures and illustrations from the mid 1600s to the early 1800s period showing wa few black people in urbanized areas of London. Most of these older communities intermarried with English people, and their descendants over time became white. However, black people weren't that preculiar a sight in somewhere like London.