Heavenly Harmonies
Thomas Tallis (c.1505-1585) & William Byrd (c.1540-1623) - Tallis: Why fumth' in fight
- Byrd: Vigilate
- Tallis: E'en like the hunted hind
- Byrd: Ne irascaris Domine
- Tallis: Let God arise
- Byrd: Exsurge, Domine
- Tallis: Expend, O Lord
- Byrd: Infelix Ego
- Tallis: God grant with grace
- Byrd: Laetentur coeli
- Tallis: Man blest no doubt
- Byrd: Quis est homo
Byrd: Mass Propers for Pentecost - Introit: Spiritus Domini
- Offertory: Confirma hoc Deus
- Communion: Factus est repente
- Tallis: Why brag'st in malice
- Byrd: Tribulationes civitatum
- Tallis: O come in one
- Byrd: Laudibus in sanctis
Stile Antico
Harmonia Mundi (Production USA) 2008
78'51
natural structure of three singers per part, with the exception of the addition of a soprano on tracks 14-16 and 20 and low, with four singers, divided into two bass-baritones and two basses pure-us closer parts for four voices Tallis teacher, in particular its 9 Psalms Tunes for Archbishop Parker's Psalter . Tallis compose pieces that are four parties that have a distinctly homophonic and very austere style of the Anthems of the Anglican tradition. These pieces are sung in the vernacular and Tallis devoted to the new Archbishop Matthew Parker's Psalter in 1567. Despite its modest composer, Tallis surprise us with some daring and a very advanced language, as can be seen in grace with God grant, for example.
The bulk of the album has other parts of Latin genius of Renaissance England, William Byrd. In it we offer parts removed from their Cantiones Sacrae I , in 1589-above all, Cantiones Sacrae II , 1591, and Gradualia II, 1607.
Byrd's Latin motets are very high indeed a master of composition and in a few works by other masters of the time we find something similar. Compounds in the vast majority five parts with a fairly wide line structure, but we find that the distribution: svperivs, altvs, tenor, tenor, bassvs , is usually used more frequently, "Byrd bill clears interesting texts-some of them excellent literary quality, I dare say, of an exquisite way. A clear example of this is found in the melancholy and glorious Domine Ne irascaris 5. It is admirable
check the immense talent that Byrd played music in the various Latin texts and how it is adapting the look of the piece to the textual requirements. Thus we have, first, jubilant pieces like Vigilate to 5, Luadibus in sanctis to 5, Domine Exsurge to 5, while on the other hand we find pieces of a more intimate and plaintive, such as ego infelix to 6 or even the Ne irascaris already named.
highlight at this stage the absolute genius of these two masters would be almost totally unnecessary, just as you would explain why the Stile Antico has become such a short time in one of the leading ensembles in the interpretation of Renaissance polyphony. Listening to this album, all doubts will be resolved.
The crisp lines, the enormous technical quality and stylistic knowledge would enough to lift them among the best, but we also add an incredible depth and expressiveness with which interpret the pieces. Their sound is british , no doubt, but go a step further, and that coldness that is sometimes attributed to these joint British, technically excellent, but sometimes superficial supposedly, is here quite eradicated the roots.
not surprising really great vocal and interpretive maturity showing this set, especially considering the youth of its components, the recording of this album was about an average of just 25 years.
In short, an absolutely wonderful album, that does not disappoint and in view of this passionate "byrdiano" Byrd contains the best I have ever heard and one of the best times record, your ears have received, in the stunning, beautiful and captivating by other irascaris Ne-and that means a lot believe me.
William Byrd: Vigilate to 5
William Byrd: Domine irascaris Ne to 5
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