Bert Bailey wrote of the Pinnock recording of "Come ye Sons of Art":

>One of the main attractions for me was the movement, "Sound the trumpet,
>sound" (countertenors 1 & 2), in 'Come, ye sons of art, away.' Since
>this is whatt I moste enjoye, I feel it's too bad it's the only segment
>displaying such rich musical counterpoints between two lines of music.

Two countertenors (as in altos) are not the only way to perform it.  I
would also recommend trying the Taverner Consort/Andrew Parrott version on
EMI, which uses a countertenor and a high tenor.  The subtle but noticeable
contrast in the timbre of the voices is quite enchanting.

>Mind you, I do not denye that the instrumental work is quite beautyfull,
>often enchanting.  The rhythmic backbone to the whole is also far more
>considerable than I'd've imagined.

Purcell was a master at using a ground (ostinato) bass line over which he
would lay lovely vocal or instrumental wroting, which is reflected in the
aria "Strike the viol" in this same work.

>I'd welcome any advice on further works to pursue by someone captivated
>by Purcell's intricate harmonic and contrapuntal interplays ...more than
>by the solo instrumental and strictly choral music in these pieces.

Well, the best of the Odes for St.  Cecilia's Day that he wrote is the one
composed for 1692, "Hail!  Bright Cecilia".  Much longer and with a richer
orchestra (including trumpets, drums and more woodwinds).

Then there's all the theatrical incidental music--most substantial is "The
Fairy Queen", loosely based on "A Midsummer Night's Dream".  Also "King
Arthur" (text by Dryden), "The Indian Queen," all of which have similarly
sumptuous instrumental writing.  He wrote incidental music for numerous
other stage works as well, and these are collected as suites for strings.
Hogwood and the Academy of Ancient Music have recorded the complete Purcell
incidental music, perhaps others as well.  Robert King and his King's
Consort have done most, if not all of the ceremonial Odes and anthems.
And of course, one can't neglect mention of his opera "Dido and Aeneas".

The Fantasias for Viols (an early set of works) are quite beautiful, with
some jarring harmonic and contrapuntal writing.  The Sonatas in Three and
Four Parts should be worthwhile listening as well.

>(BTW: pron. Pur-SELL or PUR-sul?)

I've only heard it with the accent on the first syllable.

Bill H.