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The instruments all appear to have been played one to a part. The inclusion of woodwind instruments other than recorders was a fairly recent development for Purcell, and in this case his clearly indicated writing for a small oboe band two oboes, tenor oboe and the recently introduced bassoon was particularly effective. The movement begins with a ground bass and solo voice, and then, at the mid-point, is transformed into a ravishing four-part string ritornello.

The manuscript gives no indication of the date of the first performance, but it seems evident from the anonymous author of the words that it was written shortly after the discovery of the Rye House Plot, which took place in June Over a three-bar walking ground bass the soloist winds an entrancing melody which then develops into a ravishing string ritornello. Sound the trumpet, beat the drum was the last of the three Odes that Purcell wrote between and to celebrate the birthday of James II.

After a splendid two-movement overture, Mr Abell, the alto, sets the Ode off in suitably military style, punctuated by interjections from both the bass and ritornelli from the strings. Equally extraordinary is the Chaconne which Purcell includes at the mid-point of the Ode: this is as fine an example of the form as he ever wrote, using a multitude of compositional devices and including a marvellous minor section. Purcell must have been especially pleased with this movement for, four years later, he re-used it in King Arthur.

With Celebrate this Festival we come to the fifth of six Odes Purcell wrote to celebrate the birthday of Queen Mary in successive years from By the scoring of the orchestra had been increased to include oboes, recorders and a trumpet and, although the basic plan remained the same, the size and scale of the Odes and their dramatic content had increased.

The choruses, often developing out of a series of solo sections, had increased in length and, in the interests of keeping pace with the libretto, instrumental ritornelli had all but vanished, with sections running instead straight into a contrasting vocal movement. The Symphony, much grander in scale than those of ten years before, was on this occasion copied directly from Hail!

Compact Disc 4 Ye tuneful Muses was written in , most probably to celebrate the return of the Court from Windsor to Whitehall on 1 October. That anonymous author did however provide Purcell with a good libretto, full of variety and vivid material for compositional inspiration, especially in its references to music and musical instruments and, as ever, Purcell did not fail. The fine opening Symphony is in the conventional two-section French style which had itself originated in Italy , with the opening dotted section followed by a faster imitative triple-time movement.

Two basses follow this with a rich duet, full of word-painting, linked to the first chorus by a short string ritornello. In Purcell was commissioned to write works by two London schools. Purcell took the Symphony for the Ode directly from his coronation anthem My heart is inditing : such re-use of material was comparatively rare with Purcell and suggests that there may have been some haste in the composition.

Once again a solo bass introduces the voices with an extended solo covering a wide vocal range before the chorus enter. This chorus leads into the first of several splendid string ritornelli. However the best is yet to come. Compact Disc 5 Purcell and the majority of the British public were genuinely fond of Queen Mary, who with William replaced King James on the throne when he fled to the continent.

For his offering to the Queen Purcell was on sparkling form, with recent successes on the stage leading to a more expansive style of composition. The imitative section that follows continues in the same vein, with trumpets, oboes and strings answering each other. In the later Odes there is a more integrated style of composition, with sections flowing into each other with more freedom, and the opening demonstrates this as the tenor soloist, oboes and finally the chorus combine together.

First a solo tenor and the two trumpets announce the theme, and then in augmented counterpoint the entire ensemble ends the work in triumphant vein. For Great Parent, Hail to Thee! The Symphony is suitably celebratory, with the imitative second section neatly crafted, and the opening chorus full of variety and vigour. The return of Charles II and the Duke of York from their usual Autumn visit to Newmarket was celebrated on 21 October , but the diarist Luttrell indicated that the event was rather more muted than on previous occasions probably due to the royal finances being in dire straits.

Although the Ode was only the fourth that Purcell had composed, the opening two-section Symphony is, beneath its veneer of joyfulness, one of his most wistful, leading directly into a virtuoso bass solo which again covers a range of over two octaves. A short trio leads into a chorus and the first of the string ritornelli which are such a strong feature of the early Odes.

Though he had nearly bankrupted the country, he had done much for music and musicians. The noble, yet wistful, first part is dominated by a six-note falling scale and a ravishing melody which comes only once in the violins, but three times in the viola , all wrapped in glorious harmony. Here Purcell pairs alto and high tenor with the pastoral sound of two recorders the tessitura of the recorder writing necessitates the use of the larger voice flute.

Commanding musical entertainment one day, the Queen sent for the soprano Mrs Hunt, the famous bass John Gostling and Purcell. Mrs Hunt complied, and accompanied herself on the lute. Harmonically it is not a particularly good line, but Purcell managed, with a struggle, to force a melody over it: the rustic string ritornello works rather well.

Only at the concluding string ritornello does he allow the ground to wander into the other string parts, switching it rapidly through all the lines. Raise, raise the voice and Laudate Ceciliam are both scored for three voices rather than the usual four , with an accompaniment of just two violins and basso continuo. We are not sure in which year Raise, raise the voice was first performed, though its similarity in scoring with Laudate Ceciliam which is dated has given some commentators grounds for believing the two Odes may have been performed in the same concert.

The full ensemble joins together in an unusual Purcellian texture: with no countertenors and no viola, the usual centre to the texture needs replacing, so Purcell keeps the tenor parts high, and provides the first violin with a descant above the sopranos before an instrumental ritornello rounds off the movement. Here is music of astonishing originality, breathtaking in seemingly breaking all the rules of harmony and counterpoint and still somehow ending in the right key!

The vocal writing seems clearly to be for solo voices throughout, and the influence of the verse anthem is apparent. The Symphony is in the usual two parts, the first stately and dotted, the second a lighter, triple-time movement which leads straight into the first vocal entries.

Normally the King would have returned direct from Windsor, but this year some careful political manoeuvering had proved necessary, and Charles, together with the Duke of York, had moved from Windsor to Winchester at the end of August, travelling back to Whitehall in time for the celebrations of 25 September.

For the first time the royal purse strings were not stretched to breaking point, and payments to royal musicians, Purcell amongst them, were up-to-date. The ground is unusual for Purcell in that it has rests at both the beginning and end, allowing him the option either of overlapping this hole by the voice, which he does on most occasions, or inserting a most effective pause.

Combined with the ravishing string ritornello that follows the tenor solo, we have here yet another example of the genius of Purcell. On this occasion, however, the jollity was short-lived. Compact Disc 7 In the seventeenth century, it was a regular custom that natives of certain counties and towns and scholars of various schools would meet annually in London. They would attend a church service, and afterwards adjourn for a celebratory feast. Such meetings did not only promote conviviality but also often had benevolent aims—organizations such as the Sons of the Clergy and the Charterhouse Scholars had a strongly charitable base behind their annual gatherings.

Set to Musick by Mr. Henry Purcell. Of old, when heroes thought it base was ostensibly a history of York from Roman times onwards, but it also contained allegories of the Glorious Revolution. The second section is a lilting triple-time movement, closely imitative and suitably celebratory. Brigantium was the region which effectively made up the county of Yorkshire, and the reference to Constantine was to the Roman leader whose successful military campaign in Britain led him to be proclaimed emperor by his troops in Eboracum now the city of York.

Purcell then translates the solo into a most touching chorus, adding beautifully crafted inner parts. Next the story moves on to the Wars of the Roses, fought between the Houses of York and Lancaster between and The bass line ingeniously avoids the first beat of the bar, and over it the oboes and upper strings play a melody of great elegance. When the alto soloist enters with his expressive melody, the off-beat accompaniment is taken up by the all the strings, a device which gives a poignant ending.

Over a tightly turning bass line the two soloists and two solo trumpets weave a fine movement, full of subtle turns and interesting contrasts. Purcell uses a hypnotic ground bass, just five notes long, also utilized in the main melody.

The chorus that follows finds Purcell with a subject that rarely fails to inspire him—that of music. For the last movement Purcell goes into his most ceremonial mode, with a mighty bass solo introducing block chords from the chorus and orchestral fanfares. Amidou Doctor Ahmar. Mark Feuerstein Tom Chandler. Richard McGonagle Judge. Baoan Coleman Colonel Cao. Ryan Hurst Corporal Hustings. Gordon Clapp Harris.

Hayden Tank Justin. Jimmy Abounouom Jimi as Ahmed Abounouom. William Friedkin. More like this. Watch options. Storyline Edit. Did you know Edit. Gore and Jones were roommates at Harvard. Goofs National Security Adviser Bill Sokal is worried about political pressure from other countries about the internationally publicized "slaughter of innocent civilians in Yemen", so he hides the one piece of evidence that would exonerate Col.

Childers: a video tape of the crowd initiating contact with the Marines. Sokal does this as a means of "throwing Childers under the bus". The problem with that is that not only would that tape reveal that Col. Childers was innocent and performed his duty admirably, but it would remove all political pressure from the US - thus removing the reason why Sokal hid the tape in the first place. Couple that with the evidence presented in the courts-martial that proved Col.

Childers innocent, and it would have been painfully obvious that Col. Childers performed his duties honorably and, therefore, would have been returned to active duty. In short, Sokal helped propagate the very problem he was trying to solve: political pressure against the US, that would cause embassies to be removed around the world. Quotes Colonel Hayes Hodges : [final arguments of the defense] Colonel Hayes Hodges : [presenting a photo of the embassy to juries] That is sovereign United States territory as much as if it were in Ohio or Maryland.

This is due to the fact that Seven Arts owned the international rights and wanted prime credit. Connections Featured in Behind the Rules of Engagement User reviews Review. Top review. Interesting but too simplistic and lacking in courtroom sparks. Years have past since Col Hodges and Col Childers were comrades in combat. Hodges is now retired while Childers is still on active service in the Middle East. When he is called in to help protect and evacuate the US Embassy in the middle of a riot, Childers orders his men to return fire despite not having any definite targets.

With a crowd of 80 dead, many women and children, the authorities are forced to go after Childers to have someone to blame. Childers turns to his old friend to help defend him. With a pair of real heavyweights in lead roles I was quite looking forward to this film. However as the film goes on the moral debate becomes simplified and it is clear where we are being steered, as opposed to being allowed to think things out for ourselves. I'm not a big fan of courtroom thrillers as they often rely on unlikely twists at the end and lots of shouting in place of substance.

However I do enjoy the odd one if it hangs together and has energy. However, the courtroom scenes here never really get off the ground and surprisingly given the emotive subject really lack energy and twists. Even the conclusion of the film is a real damp squid, the verdict is simply delivered, so if you're expecting twists and turns and big revelations forget it.

To have them as flat words on a screen is pointless especially since this isn't a true story! Jones and Jackson both do good work, as you'd expect for a pair of tough nuts such as they. Jackson has the better character until the script weakens itself. Pearce is OK in support but the script doesn't give him too much to work with, his side of the case is easy of course, so the film stops him overpowering the court case at the same time as it simplifies it's stance.

Support from faces such as Kingsley, Archer, Greenwood and Underwood is OK but in some cases are so brief to be cameos. Overall this starts well, but it fairs to really involve once the moral debate side of the film is simplified and phased out. The courtroom scenes barely fizzle let alone ignite the screen and the film putters to a poor ending that is badly done. Worth seeing with good performances from the leads but still a pretty big disappointment.

FAQ 3. What is "Rules of Engagement" about? Is "Rules of Engagement" an action movie? Does Samuel L. Jackson have a fight scene? Details Edit. Release date April 7, United States. English Arabic. Reglas de combate.

Box office Edit. Technical specs Edit. Runtime 2 hours 8 minutes. DTS Dolby Digital.

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