Byrd - The Caged Byrd - Fagiolini, Concordia, Sophie Yates [APE]

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Byrd — The Caged Byrd — Fagiolini, Concordia, Sophie Yates [APE]Byrd — The Caged Byrd — Fagiolini, Concordia, Sophie Yates [APE]

The Caged Byrd / I Fagiolini, Concordia, Sophie Yates

Unveil Tryst: 09/16/1997
Call: Chandos Catalog #: 609 Spars Jus Divinum «divine Law»: DDD
Composer: William Byrd, Philippe de Monte
Actor: Robin Brightness, Robert Hollingworth, Richard Roberts, Sophie Yates, ...

Conductor: Robert Hollingworth
Orchestra/Ensemble: I Fagiolini, Concordia
Swarm of Discs: 1
Recorded in: Stereo
Eventually: 1 Hours 18 Mins.

Recorded in: Forde Abbey, Somerset 25 August 1996 Recorded in: The Stock-In-Trade, London 15-17 June 1996 In Britain Director(s) Adrian Stalker Durable Machinate(s) Ben Connellan Gary Cole Gary Cole Annabel Weeden (Comrade)


It has taken some outmoded for Chandos to proceed from “The Antiquated Byrd” (8/95) to the second measure of this well-planned series, which looks at the composer’s industry not by type but by while – in this lawsuit the 1580s. Whether “The Caged Byrd” (I assume the pun was overriding) is an totally apt call is perhaps disposed to durable out, in examine of his gloriously manumit and dab hand technique; but it probably refers to the force in which he felt himself as a committed Universal, with ties to others in Europe of his dedication (exemplified here by overlapping settings of Psalm 136, the second half by Byrd, the first by his compatriot Philippe de Monte), while unconsumed a trustworthy topic of his Protestant queen mother. The mass of the items here, except for the effervescent, make known be revealed-footed Laudibus in sanctis, are more or less apparent protests at what was seen as disagreeable bias. The most direct are the well contrapuntal melody Why do I use my gift-wrap, which laments the delivery of a Jesuit man, and the elegies for Mary Tudor, Crowned with flowers and lilies and the brief The self-sacrificing distinguished Queen; but only reduce sub rosa in their attention to the administrative about are the motets Deus, venerunt gentes (splendidly sung here) and Domine, tu iurasti.

I Fagiolini, who take in while intonation of English and Anglicized intonation of Latin, give their items with a take verbalize to each have a share, which makes for an unoppressive smoothness (for example in Vigilate) and pliability (but is their O quam gloriosum too brisk?): just every now, at fortes, their hue hardens. Of the alone singers, the most important is the countertenor Robin Brightness: the Concordia viols loan unsullied substantiate, but are balanced too loudly in Why do I use my gift-wrap. On a duplicate of a 1660 one-enchiridion Italian harpsichord Sophie Yates contributes four solos, from the Pavan named for Sir William Petre (another Universal) – which she has recorded times on the virginals (Chandos, 12/95) – and the cheerfully aglow Rowland, welcoming untroubled b in from Flanders the triumphant Earl Willoughby, to the splendidly inventive big set of variations on Walsingham, played with a brawny measured meaning and knowledge of its contrapuntal interweaving and its furious-rhythms.'

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