William Byrd: Gradualia (1607)

Editorial Reviews

All Music Guide - James Manheim
This is something of a specialist recording, using musicological writings including some by the celebrated Joseph Kerman, rounding out his career with Byrd where he began to flesh out the picture of Byrd's music as a reflection of the sorts of underground Catholic activities that, in the extreme, manifested themselves in the Gunpowder Plot. What such writings reveal is the intricate connection between Byrd's musical choices and the activities of specific groups, such as the Jesuits. The fit between the program and the booklet isn't perfect, and a double disc in this case might have done more to illustrate some of the more complex ideas. The music comes from the ...
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Editorial Reviews

All Music Guide - James Manheim
This is something of a specialist recording, using musicological writings including some by the celebrated Joseph Kerman, rounding out his career with Byrd where he began to flesh out the picture of Byrd's music as a reflection of the sorts of underground Catholic activities that, in the extreme, manifested themselves in the Gunpowder Plot. What such writings reveal is the intricate connection between Byrd's musical choices and the activities of specific groups, such as the Jesuits. The fit between the program and the booklet isn't perfect, and a double disc in this case might have done more to illustrate some of the more complex ideas. The music comes from the "Gradualia," a large and comparatively rarely performed set of mass propers that can be traced to specific occasions, and the program offers just a small sample of that cycle. But there's plenty here to interest the general listener who has strained to hear the supposed underground qualities in Byrd's masses and been frustrated. The small mixed-gender group, with one voice per part, is highly effective and easy to imagine in the hidden chapels of Catholic nobles where this music would originally have been sung. And the texts in Latin and English, except for one originally English piece that has a fascinating performance history of its own tend toward the themes of Jerusalem and Babylon that, Kerman points out, echoed in the music of African-American slaves centuries later. For the listener wanting to go deeper into Byrd, and perhaps to have an album on hand for an evening's reading about late Elizabethan England, this release makes a fine choice.
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Product Details

  • Release Date: 8/5/2008
  • Label: Musica Omnia
  • UPC: 801890030227
  • Catalog Number: 302
  • Sales rank: 64,664

Tracks

Disc 1
  1. 1 Circumspice Hierusalem, motet for 6 voices (SSATBB) (inc. but can be reconstructed) - William Byrd & Michael Noone (4:16)
  2. 2 Fantasy, for keyboard in D minor, MB 46 - William Byrd & Michael Noone (5:09)
  3. 3 Why do I use my paper, ink and pen?, consort song for voice & 4 viols - William Byrd & Michael Noone (6:46)
  4. 4 Ab ortu solis, motet for 4 voices (SATB) - William Byrd & Michael Noone (2:42)
  5. 5 Venite comedite panem meum, motet for 4 voices (SATB) (2nd part of "Ab ortu solis") - William Byrd & Michael Noone (1:45)
  6. 6 Alleluia, Cognoverunt., motet for 4 voices (SATB) - William Byrd & Michael Noone (3:21)
  7. 7 Ego sum panis vivus, motet for 4 voices (SATB) - William Byrd & Michael Noone (1:45)
  8. 8 O quam suavis est, motet for 4 voices (SATB) - William Byrd & Michael Noone (3:53)
  9. 9 Jesu nostra redemptio, motet for 4 voices (SATT) - William Byrd & Michael Noone (5:19)
  10. 10 Fantasia, for keyboard in A minor, MB 13 - William Byrd & Michael Noone (8:22)
  11. 11 Nunc scio vere, motet for 6 voices (SSATTB) - William Byrd & Michael Noone (5:32)
  12. 12 Constitues eos Principes, motet for 6 voices (SSATTB) - William Byrd & Michael Noone (2:38)
  13. 13 Solve Iubente Deo, motet for 6 voices (SSATTB) - William Byrd & Michael Noone (2:39)
  14. 14 Tu es Petrus, motet for 6 voices (SSATTB) - William Byrd & Michael Noone (1:50)
  15. 15 Hodie Simon Petrus, motet for 6 voices (SSAATB) - William Byrd & Michael Noone (3:56)
  16. 16 Tu es pastor ovium, motet for 6 voices (SSATBB) - William Byrd & Michael Noone (2:13)
  17. 17 Quodcunque ligaveris, motet for 6 voices (SSATBB) - William Byrd & Michael Noone (4:27)
  18. 18 Ut re mi fa sol la, for keyboard in G major, MB 64 - William Byrd & Michael Noone (7:13)
  19. 19 Venite, exultemus Domino, motet for 6 voices (SSATTB) - William Byrd & Michael Noone (3:18)
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Album Credits

Performance Credits
Ensemble Plus Ultra Primary Artist
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