The Cardinall's Musick: Performance Diary

Missa Tecum principium Maria plena virtute

The Missa Tecum principium is perhaps Fayrfax’s most beautiful mass setting, especially the final movement setting the words of the Agnus Dei. Taking a Christmas melody as its theme, it is obviously a later work in the composer’s output. Serene and also powerful, it shows a master musician at work. With it is a most remarkable antiphon – Maria plena virtute. This is a meditation on the Passion and can be counted as the composer’s finest work. Here also are the plangent sounds of the Frideswide Consort playing three exquisite instrumental pieces.

… a compelling musical and spiritual experience. Impeccable ensemble and superb dynamic control … an outstanding disc. BBC MUSIC MAGAZINE

Missa Albanus Eterne laudis lilium

The third volume in the complete works of Fayrfax contains two pieces with very specific connections for the composer. The Missa Albanus takes a melody from the office of S. Alban and may well date from the time when he was resident at S. Alban’s Abbey in Hertfordshire. Whilst the sophisticated setting of Eterne laudis lilium was commissioned by Elizabeth of York, wife of Henry VII, just a short while before her own death. It is unique in setting the genealogy of Christ using the female line of descent, and takes the opportunity to emphasise the name ‘Elizabeth’ in the second part of the antiphon.

… voices as rich and smooth as the darkest chocolate. GRAMOPHONE

Mass & Magnificat O bone Jesu Salve Regina

The Missa O bone Jesu is the most meditative of Fayrfax’s masses. On this fourth volume of the series it is paired with a Magnificat setting of the same name. Fayrfax obviously used a model entitled O bone Jesu as the starting point for both of these compositions but unfortunately this antiphon no longer survives. Completing this disc are three more exquisite secular songs and an early setting of the Salve regina.

… one senses a real personality behind the notes, an almost symphonic sense of shape and pace that these performers, revelling in the glorious euphony, capture brilliantly. THE SUNDAY TIMES

Mass & Magnificat Regali Lauda vivi Alpha et O

The final disc in the series carries a fine picture of King Henry VIII on its front cover as the antiphon Lauda vivi Alpha et O sets a prayer specifically in his honour – probably the last example of such. This fine piece is coupled with a Mass and Magnificat which through its title (Regali) suggests a royal connection. The Mass is probably the most concise of Fayrfax’s settings but has his hallmark of sweeping melody and carefully graded textures. With the two secular songs this disc represents the final instalment in the complete works of one of England’s greatest composers.

A recording landmark. THE SUNDAY TIMES

The Festal Masses

This four disc set represents the complete Masses by Robert Fayrfax as recorded by The Cardinall’s Musick on the five previous discs in the series. It represents a considerable collection and great value for money especially since it contains a piece recently attributed to Fayrfax. Thanks to the excellent work of Dr David Skinner, the elevation motet Anima Christi has now been firmly ascribed to the Englishman and proved to be a companion piece to the Missa O bone Jesu. This track is not available on any other CD and the booklet not only explains the research involved but also carries a copy of the music.

… a cause for excitement. For those who missed it the first time round this is nearly four hours of astonishingly lovely singing. THE INDEPENDENT

Early Latin Church Music Propers for Lady Mass in Advent

The first in The Cardinall’s Musick’s series devoted to the music of William Byrd and the first of three to look at the music which exists only in manuscript and was never published during his lifetime. Highlights include the massive 9-part motet Domine quis habitabit scored for men’s voices and the emotionally charged Peccavi super numerum which deserves to be ranked as one of Byrd’s finest motets.

Also here is the first of the liturgical units from the Gradualia publications which starts at the beginning of the liturgical year with the five-part settings for Lady Mass in Advent and the witty Marian antiphon, Alma redemptoris mater.

… the immensely suave and polished singing of The Cardinall’s Musick. SOUNDSCAPES (AUSTRALIA)

Early Latin Church Music II Propers for Christmas Day

The second disc in the series and the second to be devoted to music unpublished during Byrd’s lifetime. This shows the early Byrd with two short three-part Alleluyas as well as a real rarity. A setting of In exitu Israel where three composers (John Sheppard, William Mundy and Byrd) have each contributed a set of verses. Sheppard emerges as the older composer but young Mundy and Byrd each produce exquisite writing.

This disc culminates in the monumental eight-part setting of Ad Dominum cum tribularer and at the centre of the disc are eight motets from the 1607 Gradualia representing Byrd’s contributions to the feast of Christmas.

This is a disc to rejoice Byrd lovers everywhere. GRAMOPHONE

Early Latin Church Music III Propers for the Epiphany

The third disc in the series and the final one to feature music unpublished during Byrd’s lifetime. The musical discussion between Phillipe de Monte and Byrd forms the real point of interest here. De Monte sent Byrd an eight-part composition, Super flumina Babylonis, bemoaning and sympathising with the Englishman about the state in which English Catholics found themselves. Byrd responded with another eight-part piece, more dense and more closely argued – ‘how shall we sing the Lord’s song in a strange land?’.

In the Gradualia cycle we have reached the visitation of the Three Kings at Epiphany where Byrd produces one of his shortes set of Mass propers but, as always, exquisitely crafted.

Excellent singing under the direction of Andrew Carwood do these moving works full justice. THE SUNDAY TIMES

Cantiones Sacrae 1575

The Cantiones Sacrae of 1575 was Byrd’s first publication and one that he undertook jointly with his friend and business partner, Thomas Tallis. In a break with the usual style there are no Gradualia motets here but rather all of Byrd’s motets that he decided to put forward for publication. The range in styles is huge: from the serenity of the eight-part canon Diliges Dominum to the monumental motet in honour of the Trinity, Tribue Domine.

This collection is probably the most varied that Byrd published. There is not the preponderance of mourning and lamentation found in the set from 1589. Byrd and Tallis are obviously using the music to show just how capable English musicians could be.

The performance style … gives these performances a living presence. This outstanding new release is set to become a bestseller. THE DAILY TELEGRAPH

The Masses

Here in one disc are the three pieces for which William Byrd is most famous – his Masses for three, four and five voices. The fifth volume in the series is given over entirely to these superb works which are punctuated by some of the great master’s keyboard works exquisitely performed by Patrick Russill (the first time that an organ had been present in the Fitzalan Chapel in Arundel since the Reformation).

The Mass for Three Voices is performed at a higher pitch thatn usual, giving it a light and airy scoring for soprano, alto and tenor which allows the wit and invention to shine through. Whereas the Mass for Four Voices is sung with men’s voices, underlining its sombre character and sense of mysticism. The Mass for Five Voices completes this disc: powerful and deeply passionate, it contains one of the greatest pieces of polyphony ever composed in the setting of the words of the Credo.

The Cardinall’s have made their mark with the depth of their understanding. GRAMOPHONE

Music for Holy Week & Easter

The sixth disc in the Byrd series is given over entirely to music from the Gradualia publications of the early seventeeth century for one liturgical season – Holy Week and Easter. At its centre is Byrd’s setting of the S. John Passion, conceived in truly liturgical style with solo voices taking the parts of the narrator, Jesus and all of the other characters whilst the choir of voices responds with the words of the crowd.

The musical highlights have to be the impassioned setting of Plorans plorabit (a darkly penitential motet), the exquisite sacramental solo song, Adoramus te, Christe, and the superb set of Mass propers for Easter Day – an explosion of musical energy to celebrate the resurrection of Christ.

This is a lovely and powerful presentation of Byrd’s music. AMERICAN RECORD GUIDE

Cantiones Sacrae, 1589 Propers for Lady Mass from Christmas to Purification

The seveth CD in this Byrd edition is the first to feature music from the 1589 Cantiones Sacrae: the first eight motets of the collection are to be found here and the remainder on the following disc (vol. 8). Here Byrd enters an incredibly sombre world. Persecution against Catholics by the government of Elizabeth I was at an all time high, and Byrd responds with a number of motets which explicitly address the unhappy Catholic community. Every piece is a gem but the anguish is particularly felt in Tristis et anxietas and the motet in four sections, Deus venerunt gentes, an expression of grief at the execution of Blessed Edmund Campion.

To provide contrast there is a further installment in the Gradualia cycle, this time with the set of pieces for Lady Mass from Christmas to the Purification. Entirely different in mood and style, they represent compositions from later in Byrd’s prolific life.

Carwood’s expressive, beautifully focused singers make persuasive advocates. BBC MUSIC MAGAZINE (5 STARS)

Cantiones Sacrae, 1589 Propers for the Purification

The remaining eight motets from the 1589 Cantiones Sacrae are found on this disc, the eighth in the series devoted to William Byrd. As with the companion disc (vol. 7), Byrd is pre-occupied with the distressed state of Catholics in late-sixteenth-century England, expressed with devstating effect in the famous Ne irascaris and Civitas sancti tui. Yet there is always hope and the setting of Vigilate and Laetentur caeli bring some comfort to the Catholic community.

From the Gradualia cycle, here is all the music for the feast of the Purification or Candlemas. Byrd seems to have enjoyed this feast or at least was required to produce a lot of music for it, as it is certainly comprehensive. A full set of Mass propers with a procession and two motets for Vespers. A true musical and liturgical feast!

All small ensembles should listen to this recording, learn what is required of them and aim to sing with the same technical skill, understanding, cohesive beauty, and sheer performing panache of this astonishing group.
CHOIR & ORGAN

Propers for Ascension, Pentecost & Corpus Christi

The ninth disc in the Byrd series is devoted entirely to settings from the Gradualia publications of 1605 and 1607, and provides a wonderful set of music for the three consecutive feasts of Ascension, Pentecost and Corpus Christi.

Classic FM Magazine
Best Buy…

These motets are shorter than those published in the late 1580s and are perhaps more imaginative witty, sometimes playful (Factus est repente) but sometimes highly devotional (as in the world famous Ave verum corpus). For this disc the female singers of The Cardinall’s Musick have been given a holiday, thus allowing the lower voices to show off their versatility and musical imaginations.

Also here is the first of the liturgical units from the Gradualia publications which starts at the beginning of the liturgical year with the 5-part settings for Lady Mass in Advent and the witty Marian antiphon, Alma redemptoris mater.

The men of The Cardinall’s Musick … capture the ageing composer’s blend of youthful swagger and mature musical mastery in deep-throated pomp, inspired by Andrew Carwood’s direction. An irresistable album to crown ASV’s matchless Byrd Edition. CLASSIC FM MAGAZINE

Laudibus in sanctis Cantiones Sacrae 1591 & Propers for Lady Mass in Eastertide

This tenth volume in the series is the first to be released on the Hyperion label and the first to feature music from Byrd’s consummate collection of 1591. The first seven motets are featured on this disc including the scintillating setting of Psalm 150 (Laudibus in sanctis) as well as more meditative motets such as Quis est homo and the exquisitely devotional Salve regina.

From the Gradualia are the Propers for Lady Mass in Eastertide and some more general motets – two psalm settings and two motets which take their inspiration from Compline – which create one of the most varied and satisfying discs in the series.

The Cardinall’s Musick of 2006 is surely an exaltation of larks… They clearly relish every interlacing line, every delectable chord and every expressive nuance. The … Byrd series is still very much alive and kicking, and turning up performances of exquisite perfection. INTERNATIONAL RECORD REVIEW

Hodie Simon Petrus Cantiones Sacrae 1591 & Gradualia 1607

The works in this eleventh volume present Byrd the recusant, covering the last year of his fashionable career in London and moving to a quieter life in the Essex countryside. The music is from two sources: the magnificent Cantiones Sacrae of 1591 and the Gradualia from 1607. The seven motets from 1591 show Byrd to be pre-occupied with thoughts of desolation, loss, deprivation and separation – familiar ideas for the recusant Catholic community. A feeling of angst in the music is leavened by a sense of salvation and a glimmer of hope which is the composer’s constant refrain. The Gradualia are some of the most imaginative, modern-sounding and energetic music that the composer ever wrote.

This performance is unparalleled in its depth of expression and intelligence BBC MUSIC MAGAZINE

Assumpta est Maria Gradualia 1605

All of the music on this disc is drawn from the first volume of Gradualia published in 1605, in which the Byrd’s overtly Catholic agenda is clearly displayed. These pieces show a glimpse of the man that is rather different from our more usual perception of the composer racked with misery at the deprivation of Catholics in England. Relaxed and confident, he indulges his considerable wit and imagination, and employs the most up-to-date musical styles. Here there is no wringing of hands, nor downcast eyes but rather the musical embodiment of an unshakeable faith.

The Cardinall’s Musick under Andrew Carwood show the deep feeling as well as the dignity of these illicit and originally secret settings THE INDEPENDENT ON SUNDAY

Infelix ego Cantiones Sacrae 1591, Gradualia 1605 & 1607

The Cardinall’s Musick’s award-winning Byrd series reaches its final volume, Which includes some of the composer’s most sublime and adventurous music, drawn in the main from the 1591 Cantiones Sacrae collection. Throughout this series it has become evident that a comprehensive survey such as this shows the genius of the composer in uniquely effective way: by demonstrating the extraordinary variety and unsurpassable quality of his musical and liturgical achievements. Andrew Carwood defines Byrd as the greatest composer of the age in his booklet note – as he writes: ‘If there is an english musician who comes close to Shakespeare in his consummate artistry, his control over so many genres and his ability to speak with emotional directness it must be William Byrd.’

The group’s delivery is a sensual delight BBC MUSIC MAGAZINE

CONCERT: KILKENNY ARTS FESTIVAL

Kilkenny 2010 Highlight: The Cardinall’s Musick’s stirring and illuminating programme of choral music by Tallis and Byrd in the Black Abbey.

The major musical event of the opening weekend of Kilkenny Arts Festival was Saturday’s concert of sacred music by two English composers, Thomas Tallis and William Byrd.

Tallis (c. 1505–85) is said to have been the teacher of Byrd (c. 1540–1623), and the two men became close friends and colleagues. Their shared sympathies and collaborations extended beyond the writing of music.

They were both Catholics at a time of religious upheavals. And in 1575, when Queen Elizabeth I granted them a patent for the printing of music and lined music paper, they promptly published a joint set of Cantiones quae ab argumento sacrae vocantur (usually known as Cantiones sacrae) which they dedicated to her.

The Kilkenny concert was given by the English choir The Cardinall’s Musick, whose conductor, Andrew Carwood, offered succinct and suggestive spoken introductions to the music. The first half of the evening was devoted to Tallis, the second to Byrd. And from the start of Tallis’s splendidly celebratory Loquebantur variis linguis it was clear that this was to be an evening of compellingly-projected, full-toned, gorgeously resonant singing. It was the kind of evening which had one pinching oneself to check that such edifices of sound could be produced by such a small number of voices – the choir numbers 12, but its members also sang in smaller groupings.

Each half was carefully constructed with an eye to contrast, and the choir split for a number of the items, so that the sound of Gregorian chant could be heard from afar, effectively from around the corner for most listeners in the atmospheric setting of Kilkenny’s L-shaped Black Abbey.

Byrd is audibly the more modern-sounding of the two composers, with a rhythmic movement and a cadential thrust that place a clear stylistic distance between himself and his older colleague. But it was actually the works by Tallis which made the greater impression, in spite of the fact that Carwood and his singers showed that well-known English predilection for underplaying the sometimes extraordinary dissonant clashes that are such a feature of Tallis’s work.

Date: 10 August 2010    

CONCERT: IL SIGLO D’ORO, WIGMORE HALL

Though I don’t imagine many of the Wigmore Hall’s early music audience spend too much time on the terraces, at least some of them seemed to grasp conductor Andrew Carwood’s introductory references to Paul the psychic octopus. By happy chance, less than 24 hours after Spain’s World Cup victory, this concert was devoted to the music of that country’s other, cultural golden age, half a millennium ago.

Carwood’s programme concentrated on music composed in honour of the Virgin Mary. The three best-known Spanish composers of the 16th century, Morales, Victoria and Guerrero, were all generously represented, but there were also settings by less familiar figures such as Vivanco, Esquivel and Lobo. It’s sheer delight to be immersed in such entrancingly beautiful music, with Victoria’s darker hued, more expressively intense vocal writing contrasting with the more open, less highly wrought textures of Guerrero and Esquivel, and the sparer directness of Morales.

The Cardinall’s Musick perform this music with consummate clarity, and not a trace of affectation or unnecessary embellishment. With just one singer to each of the four, five, six or eight parts, it was all perfectly scaled to the Wigmore Hall. One might have expected music composed for a church acoustic to seem undernourished in a concert setting, but there was never any suggestion of dryness; rather, the vivid immediacy of the sound only highlighted the group’s distinctive qualities, in which the characteristics of each singer are never homogenised into undifferentiated choral textures. Just occasionally one might have liked the enunciation to be a little more precise, but that’s nit-picking really; it was a beautifully conceived programme, beautifully presented.

Date: 13 July 2010