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Wydawnictwo: Signum Classics
Nr katalogowy: SIGCD 295
Nośnik: 1 CD
Data wydania: październik 2012
EAN: 635212029527
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: renesans, barok
Obszar (język): flamandzki, angielski
Rodzaj: miserere, motet

Monte / Byrd: The Word Unspoken

Signum Classics - SIGCD 295
Nagrody i rekomendacje
Fanfare Recommendation MusicWeb Recording of the Month Gramophone Editor's Choice
William Byrd:
Tristitia et anxietas from Cantiones Sacrae (1589)
Vigilate from Cantiones Sacrae (1589)
Tribulationes civitatum from Cantiones Sacrae (1589)
Vide, Domine, afflictionem from Cantiones Sacrae (1589)
Ne irascaris from Cantiones Sacrae (1589)
Quomodo cantabimus

Philippe de Monte:
Domine, quid multiplicati sunt from Motets Book V (1579)
Miserere mei, Deus from Motets Book V (1579)
Voce mea ad Dominum clamavi from Motets Book V (1579)
O suavitas et dulcedo
Super flumina Babylonis
William Byrd, favourite of Queen Elizabeth I, was a confirmed and practising catholic who worshipped in defiance of the Queen. His status and perhaps even his life was preserved thanks partly to the undeniable mastery of his music, and to the fact that he was careful to maintain an output of music appropriate for a Protestant Rite (simple and English) as well as a Catholic one (florid and Latin).

Byrd was by no means the only major Catholic composer working in England during these years. Furthermore, there were English composers whose faith drove them to work abroad, as well as foreign composers who offered sympathy and encouragement to English catholics. Included in this latter category was the Flemish composer Phillipe De Monte who entered into a fascinating compositional correspondence with Byrd. Verses of Psalm 136 ‘Super Flumina Babylonis’ (containing many allegorical references to the plight of catholics unable to practice their faith openly) were set to music and exchanged, in what is now seen as an encoded message of mutual support and friendship between brothers in faith.

The texts reveal the Catholic community’s sense of isolation (“How shall we sing the Lord’s song in a strange land?” – Quomodo Cantabimus) and bereavement (“Jerusalem is wasted” – Ne Irascaris), and the elaborate, poetic nature of the encoded messages distributed within it through music.

The early-music consort Gallicantus (led by former King's Singer Gabriel Crouch) is drawn from the ranks of recent BBC Music Magazine award-winning choir Tenebrae.

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