Jehova quam multi sunt - Henry Purcell | Ensemble Pro Victoria, Toby Ward

Jehova Quam multi sunt (Z135), composed by Henry Purcell (1659-1595) circa 1680, live from the 2021 London International Festival of Early Music.
Jehova, quam multi sunt hostes is one of only two sacred Latin motets by Purcell which, from its autograph manuscript, has been dated around 1680. It is not known why Purcell should have set a Latin Psalm text: it seems highly improbable that such a work could have been performed at the Anglican Chapel Royal. It is just possible, although unlikely, that it could have been written for the Catholic chapel of King Charles’s Queen Catherine. Whatever its purpose, ‘Jehova’ is one of Purcell’s most astonishing church works, combining progressive and conservative styles. Its declamatory solo and choral work shows Purcell at his most highly Italianate, but combines such forward-looking techniques with sections of polyphony which look back to the English masters of the late Renaissance. Harmonically the work shows Purcell at his most adventurous. Elgar is said to have enquired, when orchestrating ‘Jehova’, whether the score he was using contained misprints!
The first section demonstrates Purcell’s choral mastery: over the mysterious opening chords the second trebles float their high entry, building towards the angry ‘Quam multi insurgunt contra me’ and the counterpoint of ‘quam multi dicunt de anima mea’. The entries of ‘non est salus isti in Deo’ (‘There is no help for him in God’) build magnificently to a climax. The tenor solo ‘At tu, Jehova’ is highly Italianate in its declamation, moving into a section of triple-time arioso: the choir answer with the forceful ‘Voce mea ad Jehovam clamanti’ and a contrapuntal section ‘respondit mihi’ which builds to another sumptuous close, in which the choir basses divert from the continuo line to add extra richness to the harmony. ‘Ego cubui et dormivi’ is one of Purcell’s most vividly atmospheric pieces of choral writing, illustrating the psalmist sleeping and awaking, safe in the knowledge that the Lord was sustaining him. Purcell splendidly sets the warlike ‘Non timebo a myriadibus populi’ for solo bass, calling on God to save him. The continuo line at ‘Qui percussisti omnes inimicos meos maxilliam’ [‘maxillam’ would be better grammar] (‘Thou hast smitten all mine enemies upon the cheek-bone’) falls inexorably before the teeth of the ungodly are broken. The closing chorus is triumphant in its lilting triple metre.
A psalm of David, when he fled from the face of Absalom his son.
Lord, how are they increased that trouble me : many are they that rise against me.
Many one there be that say of my soul : There is no help for him in his God.
But thou, O Lord, art my defender : thou art my worship, and the lifter up of my head.
I did call upon the Lord with my voice : and he heard me out of his holy hill. I laid me down and slept, and rose up again : for the Lord sustained me.
I will not be afraid for ten thousands of the people : that have set themselves against me round about.
Up, Lord, and help me, O my God : for thou smitest all mine enemies upon the cheekbone; thou hast broken the teeth of the ungodly.
Salvation belongeth unto the Lord : and thy blessing is upon thy people.

[@geckofeet]

Splendid performance and useful description. The recording cuts off just a few seconds prematurely, but no big deal. Thank you so much for sharing.

[@EnsembleProVictoria]

Thanks for this - sadly the concert edit runs straight into the next piece, so we had to cut it off quickly!

[@danielebiasiol4082]

How beautiful is to see that Purcell knew and used God's holy name, Jehova, in his works. It sends shivers up my spine ❤

[@jbell0243]

What?