Utwory na płycie:

• Byrd: Mass For 5 Voices - 1. Kyrie
• Byrd: Mass For 5 Voices - 2. Gloria
• Byrd: Mass For 5 Voices - 3. Credo
• Byrd: Mass For 5 Voices - 4a. Sanctus
• Byrd: Mass For 5 Voices - 4b. Benedictus
• Byrd: Mass For 5 Voices - 5. Agnus Dei
• Byrd: Mass For 4 Voices - 1. Kyrie
• Byrd: Mass For 4 Voices - 2. Gloria
• Byrd: Mass For 4 Voices - 3. Credo
• Byrd: Mass For 4 Voices - 4a. Sanctus
• Byrd: Mass For 4 Voices - 4b. Benedictus
• Byrd: Mass For 4 Voices - 5. Agnus Dei
• Byrd: Mass For 3 Voices - 1. Kyrie
• Byrd: Mass For 3 Voices - 2. Gloria
• Byrd: Mass For 3 Voices - 3. Credo
• Byrd: Mass For 3 Voices - 4a. Sanctus
• Byrd: Mass For 3 Voices - 4b. Benedictus
• Byrd: Mass For 3 Voices - 5. Agnus Dei
• Byrd: Ave Verum Corpus

Mass for ?ve voices
Mass for four voices
Mass for three voices
Ave verum corpus

A new recording of the most perfect of Tudor masterpieces, Byrd’s three Mass-settings, from the cradle of their nineteenth-century rehabilitation. Westminster Cathedral Choir is enjoying a vintage period, and here we hear its trademark sound in all its glory: unfettered, natural singing from the trebles underpinned by warm yet clear tones from the gentlemen.

This recording celebrates Byrd’s Catholic Masses in two ways simultaneously. Most obviously, it addresses great and timeless works, which themselves address great and timeless liturgical texts. But at the same time it reminds us that the revival of Byrd’s Masses in the late nineteenth century was pioneered by Roman Catholic church choirs. This is a point worth pondering. Since the accession of Queen Elizabeth I in 1558, the choirs of England’s Protestant cathedrals and college chapels have had their own distinctive musical repertory, which has ?ourished and grown in unbroken tradition. The anthems and services of Thomas Tallis, for instance, have never fallen from cathedral use; they have been the epitome of Choral Evensong and Eucharist for more than four centuries. This Anglican repertory, however, is not what Roman Catholic worship requires. When major Catholic choral foundations were established in late Victorian and Edwardian England, at Downside Abbey, the Brompton Oratory, and above all at Westminster Cathedral, there was a quest for new and more relevant music; and it was at these places that William Byrd’s three Latin Masses were revived. Hence the pertinence of this recording; it celebrates that Catholic revival no less than it celebrates the works themselves.