In a few cases, Purcell contributed so much music to a stage work that his contemporaries referred to them as "Semi-Operas." For most such productions, however, Purcell followed traditional practice and wrote only a couple of numbers for a given play. Sometimes this consisted of only instrumental music, more often solo songs or duets.

Purcell composed incidental music for Richard Norton's Pausanias, the Betrayer of his Country in 1695, probably in the late summer or early fall, contributing one song and one duet to the stage production.

The duet, "My dearest, my fairest," features two strands of melody delicately and artfully woven together. The influence of Monteverdi's late style is evident in the interplay of the voice parts and the general texture.

Far more impressive is "Sweeter than roses," the first of Purcell's two numbers in Pausanias and one of his best songs. "Sweeter than roses" is a lengthy seduction song in two parts, the first a lyrical, passionate arioso, the second a more animated section in triple meter. In the first part we find some unusual melodic manipulation that facilitates musical illustration of the words. The opening line of this C minor song is an odd five measures long. Supporting the melody is a descending line that twice passes through C - B flat - A flat - G. Instead of repeating this phrase, either at the same pitch level or another, as is typical of Purcell, he sets the same text again but gives it a greatly altered setting. The bass now descends through an entire octave, from G to G, and the melody has been changed and extended. However, Purcell preserves motives from the first melody, moving the melisma on the word "cool" to the word "evening" in the passage, "cool evening breeze," adding the text, "On a warm flowery shore" before the cadence. Instead of the single, sustained note on "Sweeter" that we hear the first time through, Purcell sets the word to a turn-like figure hovering around G and A flat, "borrowed" from the preceding continuo passage. Although the full melodies are very different, Purcell creates unity by using the same motives on different words. Momentarily, Purcell moves to E flat major and, again manipulating motives, he moves the quivering, trill-like passage on G and A flat from "Sweeter" to "trembling." At the end of the first section, "then shot like fire all o'er," the music moves to the tonic major.

The second part of "Sweeter than roses" is built on a rhythmic ostinato of two eighths followed two quarter notes, the eighths always leaping down a third. In C major, the second part is as harmonically simple as the first, not venturing beyond the dominant. The constant repetition in the bass contrasts with florid melodies, especially an extended melisma on "victorious."

© All Music Guide

1.Song: Sweeter than roses

From 1690, Henry Purcell became the most popular British composer of music for the theater, which became the most important aspect of his career for the rest of his life (1659 - 1695). Even in the Birthday Odes that he wrote for members of the Royal Family during these years he sometimes recycled songs already popular from the stage.

Each year he wrote a new semi-opera (a serious play with a considerable amount of music): Dioclesian, King Arthur, and The Fairy Queen, which was revived for the 1693 season. But Christopher Rich, the notoriously stingy director of the Theatre Royal, did not order a new semi-opera for 1694 and, in fact, at the end of the year, his miserliness led one of his top actors, Thomas Betterton, to take most of the experienced actors with him and set up a rival company in Lincoln's Inn Fields.

Rich concluded that what he needed to continue bringing in customers was more music in his productions, especially music by Purcell. He planned two new semi-operas, The Indian Queen and The Tempest, and increased the amount of incidental music in straight plays. (Purcell did not, however, compose the music to The Tempest, even though this music was published as one of his "complete works.")

Quite often Purcell wrote only one or two songs for a particular production, with other composers contributing their own numbers. This is the case of Pausanius, Betrayer of His Country.

In such cases, Purcell invariably specialized in love songs. He wrote just two numbers for Pausanius, "Sweeter than Roses" and "My Dearest, My Fairest."

As the full title of Pausanius suggests, Richard Norton's play is a tragedy. "Sweeter than Roses" has become a staple in the recital repertory, particularly in the type of recital where a newer singer is showing her ability in various eras of music. Such singers are well-advised to be sure they have studied the play and are aware of the context of this song. When, as is frequently the case, they are not, they tend to sing the song sweetly, as a pleasant song about love's pleasures.

In fact, it was intended as a steamy seduction song, voiced by the courtesan Pandora at an assignation in her house. The languorous opening mood of the song should turn hot by the time the song is over.

© All Music Guide