The Augsburg Cathedral Boys' Choir is celebrating Giovanni Pierluigi da Palestrina as one of the greatest composers in music history with a recording to mark the 500th anniversary of his birth in 2025. The focus is on the eight-part Missa Fratres ego enim accepi, which Palestrina composed as a parody mass of the motet of the same name, which he also penned. What is special about the recording is the use and interplay with instruments, as is documented for polyphonic repertoire in Augsburg in the 16th century, as well as historical pitches.

One of the foremost vocal chamber ensembles active today, New York Polyphony is renowned for it's innovative programming ranging from Gregorian chant to contemporary commissions. On Sky of my Heart, the selection spans over four hundred years of musical history and bears witness to this vocal ensemble's commitment to discovering and developing new works that augment it's core early music repertoire. Some of the works performed here deal with the essential themes of life, death and the afterlife and have been inspired by personal bereavement (Smith) or by the impact of Covid confinement (Moravec). Others are steeped in a spiritual atmosphere, whether religious (Byrd, Moody, Tavener and McGlade) or meditative (Naito). The contemporary works, some of which were written at the behest of New York Polyphony, are firmly rooted in the rich history of plainsong, while at the same time featuring some very contemporary harmonies. The vocal ensemble is joined by LeStrange Viols in three pieces: My Days by Nico Muhly, a ritualized tribute to the early 17th-century English composer Orlando Gibbons, The Silver Swan by Gibbons himself, which brings the programme to an appropriately quiet and poignant close, and Byrd's Agnus Dei. The viol ensemble adds a colour that is both appropriate for Gibbons and original in it's treatment of sound.

William Byrd (c.1540-1623) was an English composer who wrote in every genre prevalent in his day and displayed proficiency in each musical category he attempted. Whether it was sacred or secular vocal music, his consort writing for viols, or his music for the keyboard, Byrd was a supreme musical architect. His writing reached the height of musical sophistication in England during his lifetime. In Byrd's day, virginals, harpsichords and all manner of plucked-string keyboard instruments were widely played throughout England. Organs, both large and small, were also in wide use throughout the country. Byrd held an important position as organist at Lincoln Cathedral, and it is certain he would have played many of his keyboard compositions on the organ. Like his contemporaries, he rarely specified the particular keyboard instrument to be used. The uncomplicated reality of the period was that players simply used what was available to them at the time. Byrd's keyboard compositions fall broadly into four categories: fantasias, settings of popular songs, variations, and dance pieces. The middle half of the 16th century saw this first genre evolve from a work for lute or viol consort into a keyboard piece. The developing Tudor fantasia featured continuous imitation, rapid figurations and hitherto unknown displays of virtuosity. Above all, it was keyboard writing which was decisively idiomatic. Byrd's compositions of this type are sectionalized works and are, more often than not, somewhat formulaic. Customarily beginning in the style of a cantus firmus choral motet with long note values, musical ideas are exposed and heard in various registers of the keyboard. This was typically followed by an answering phrase with shorter note values and a sharply contrasted character. New ideas continue to emerge and the writing becomes increasingly more complex and virtuosic. There is habitually a tripla section and a codetta notable for it's brilliant scalic writing. Thus, the Byrd fantasia is a clever and distinctive amalgam of the ancient motet style, with it's overlapping entries, and the emerging features of idiomatic keyboard writing formulas. His unique approach to rhythm, which puts his keyboard music in a class of it's own, features cross-rhythms, hemiolas, polyrhythms, frequent changes of meters, outrageous syncopation and even jaunty jig-like episodes. Other information: - Recorded April 2024 at the University of Birmingham - Booklet in English contains liner notes by the organist, a description of the organ with stop list, and a profile of the artist - William Byrd was an English composer of late Renaissance music. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native England and on the continent. On his death, he was reported in the records of the Chapel Royal as 'father of Music'. He wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard (the so-called Virginalist school), and consort music. - Unlike the more formal structures of his contemporaries, Byrd's Organ Fantasias exhibit freedom and fluidity, often moving between contrasting sections that vary in texture, tempo, and mood. This variety allows the pieces to shift from reflective, meditative passages to lively, rhythmic episodes, creating a dynamic and engaging listening experience. Byrd's use of dissonance, chromaticism, and unusual harmonies gives his fantasias a unique emotional depth, setting them apart from other keyboard works of the time. - It would be difficult to think of an instrument in the United Kingdom today better suited to William Byrd's music than the St Telio organ in the vicinity of Cardiff, Wales. Built by the English organ builders Martin Goetze and Dominic Gwynn in 2001, this chamber instrument is based on a remarkable discovery - a soundboard unearthed in 1977 in Suffolk. It's pipes are constructed on the only pipes surviving from the mediaeval West Country tradition from John Loosemore's 1665 organ for Nettlecombe Court. The extremely narrow scaling produces a sound which is surprisingly rich with a somewhat sibilant trait. It works with hand-operated bellows. This gives rise to very subtle surges and dips in sound pressure and volume as well as the occasional rattle and creak, adding an extra layer of authenticity. - Jangoo Chapkhana is an organist and harpsichordist of international standing, as well as an orchestral conductor. His career highlights include organ recitals in Westminster Abbey (London), St Mary The Virgin (New York City) and two recitals in Washington National Cathedral (USA).

2018 release. This album takes a look back at Chanticleer's favorite composers and works. It combines pieces from Renaissance and Baroque composers (Lassus, Byrd, Morley, Palestrina etc.) with 20th American works composed or arranged by Stucky, Bates, Gershwin (Summertime) and members of Chanticleer.

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Alamire, under the direction of David Skinner, complete their survey of the choral works of William Byrd to mark the composer's 400th anniversary with this landmark recording of The Great Service and seven anthems. Emerging from centuries of obscurity, Byrd's Great Service, first revived in the early twentieth century, represents a pinnacle of English choral music. This recording commemorates the centenary of it's modern debut in 1924. With intricate polyphony and poignant text settings, Byrd's masterful use of ten voices reveals his unparalleled skill in capturing the essence of the Anglican liturgy. Complemented by seven anthems, this album offers a comprehensive exploration of Byrd's rich, spiritual, and historical musical contributions.

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The Odyssean Ensemble's impressive debut recording features the Great Service of William Byrd, a rather neglected work of genius interspersed with some contemporaneous anthems. Uniquely the Odyssean Ensemble performs the piece in a new performing edition created by Byrd expert Andrew Johnstone, who also contributes fascinating booklet notes. Accompanied by a reconstructed Goetze & Gwynn Tudor organ (the St Teilo organ, expertly played by Christian Wilson), director Colm Carey leads listeners into Byrd's rich and colourful sound world. The music in the Great Service is of unparalleled proportions and inexhaustible variety; Byrd vividly represents the text at every opportunity stimulating the listener's imagination. The Great Service encapsulates the canticles that were sung during the services of Matins and Evensong, which made up an important part of Cranmer's newly created Book of Common Prayer of 1549. This recording continues the Odyssean Ensemble's exploration of English music of the 16th century, perhaps one of the golden eras of musical composition.

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In 2023 Brilliant Classics released a 9CD box of the complete keyboard music by William Byrd, marking the tercentenary of the composer's death. The set was welcomed as a monumental achievement, and a worthy sequel to Davitt Moroney's pioneering achievement on Hyperion: 'Those who enjoyed Belder's forthright and imaginatively ornamented Byrd performances in his complete Fitzwilliam Virginal Book survey will know what to expect,' wrote Jed Distler in Classics Today. 'He favors less agogic manipulation and more conservative rhythmic continuity compared to Hyperion's Davitt Moroney. However, a palpable sense of controlled freedom informs Belder's subtle placement of cadences and phrase endings and his flexibly articulated ornaments.' Extracted from that critically acclaimed set, the present album presents all the pieces recorded bv Pieter-Jan Belder on the at the Albert Kiespenning organ of the Grote Kerk in Wijk bij Duurstede. The degree to which any of these pieces was written 'for organ' may remain open to question, when they could be performed, with allowance for some imaginative liberties, on any keyboard instrument, and indeed many contemporary pianists have revived Byrd's music for a new generation of listeners. Whether experienced on a Steinway or a spinet, Byrd is the first great composer for the keyboard, even when producing instrumental versions of choral anthems. Belder includes several such pieces here, which find a natural home 'in church' rather than the domestic setting of the harpsichord. Two versions of Salvator Mundi are effectively forerunners of chorale preludes; likewise three versions of Clarifica me. Several voluntaries lie no less idiomatically on the organ despite their highly florid writing, while the assorted preludes or fantasias and their companion fugues also deserve to be regarded alongside notable pre-Bachian models by Frescobaldi and Buxtehude. According to Early Music Review: 'As for performance, Belder's strength is in allowing Byrd to speak through the music rather than inflicting an interpretative regime upon the music... It remains wholeheartedly to welcome and recommend this fine discographical achievement.'

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Among the most prized exhibits of Fitzwilliam College, Cambridge, stands the Fitzwilliam Virginal Book, the largest surviving anthology of Elizabethan and Jacobean keyboard music. Dating from a period during which theory and notation were undergoing radical change, the collection was probably compiled by Francis Tregian and falls just short of 300 compositions. These include a number by William Byrd, the foremost composer of the Elizabethan age.

Bringing together all of Byrd's works as featured in the anthology, this release contains many sets of variations -- including the infamous Walsingham MB8, which comprises no less than 22 embellished statements of the theme. The piece ranks among the most virtuosic of the composer's keyboard compositions, and appears alongside several instrumental dances such as the Pavan and Galliard. Often modal in flavour, these abound in rhythmic energy and continuity -- important features considering the static harmony and repetitive nature of the material. The Carman's Whistle also makes an appearance, a piece first popularised by Arthur Rubinstein during his historical recital programmes and which was later arranged by Percy Grainger.

A leading expert in the field of early music, Pieter-Jan Belder has recorded widely for Brilliant Classics over the years and returns once again to perform this illustrious programme of works. The release is an engaging follow-up to the first volume in the series, extending its instrumental range to include performances on a 1604 virginal by Ruckers as well as a chest organ, and comprises essential listening for keyboardists and early music aficionados alike.

Other information:
- Second volume of a unique project: the first complete recording of the Fitzwilliam Virginal Book, dedicated to William Byrd.
- Recorded 19 & 20 October 2011, Westvestkerk Schiedam (CD1); 26 May & 1 June 2012, Doopsgezinde gemeente Dordrecht (CD2).
- A great achievement of Pieter-Jan Belder, one of the most respected and frequently recorded keyboard (harpsichord, clavichord, virginal, organ, hammerklavier) players of today. His recordings of Bach, Rameau, CPE Bach and Scarlatti (complete Sonatas!) have met with great critical acclaim in the international press.
- Belder plays a unique original Ruckers instrument from 1604, the details of which are described in the extensive liner notes in the booklet.
- Includes detailed notes on the history of the Fitzwilliam Virginal Book and the 1604 virginal used in the recording, notes on William Byrd's contribution to the anthology, and an artist biography
- Volume 1 was issued on BC 94303.

Performing on the Taylor & Boody Organ of Sidney Sussex College, Cambridge, the critically acclaimed organist Stephen Farr presents a rare exploration of the keyboard works of William Byrd on the organ. This historically informed instrument is made in the early English style and makes a fitting tribute in this, the composer's 400th anniversary year.

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Within the earlier part of his long career William Byrd published three volumes of Cantiones Sacrae – sacred songs to Latin words. The first, in 1575, was a joint venture with his master Thomas Tallis, each composer contributing seventeen items. The others, called by Byrd the ‘Uber primus’ and ‘Uber secundus’ of sacred songs, appeared in 1589 and 1591; they contain respectively sixteen and twenty-one items (several of them being in two or more separately numbered sections). The present set of three CD’s contains a generous selection of items from these three collections. The first disc also includes three of Byrd’s keyboard pieces, interspersed with the vocal music.

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Recorded in: Forde Abbey, Somerset 17 November 1994 Recorded in: The Warehouse, London 28-30 November 1994 Producer(s) Adrian Hunter Sound Engineer(s) Ben Connellan Richard Smoker (Assistant)

William Byrd's music in a unique recording on the Leversidge virginals of 1670 which was made in the Hill Music Room in the Ashmolean Museum, Oxford. The music is all taken from 'My Ladye nevells Booke' of 1591.

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Musica Contexta translates literally as ‘music interwoven’, reflecting the group’s primary aim of presenting Renaissance music in the context of its original conception and function. The Great Service, consisting of settings of liturgical texts for Matins, Communion, and Evensong, is among the finest music by William Byrd for the Anglican Church. He wrote this grand-scale work for two five-part choirs who. The endless variety with which Byrd played with the available combinations gives the Great Service a kaleidoscopic character, which is very rare in late Renaissance music.

Marking the quadricentenary of Byrd’s death in 2023, the Men & Boys Choir of Saint Thomas, Fifth Avenue, New York, recreates the Catholic Mass for the Feast of Corpus Christi as Byrd might have experienced it in the late 16th century. This new recording includes various Latin motets written by Byrd for the feast, along with the remarkable Mass setting in four parts.

Part of this album is a recording, originally released on LP only in 1981, of the Saint Thomas Choir under the late Gerre Hancock, singing Byrd’s complete Great Service, written in the vernacular for the reformed Anglican liturgy – the flip side of Byrd’s Latinate expression.

William Byrd's vocal works would have assured him a place in history as the greatest English composer of his generation. Yet he was also the outstanding composer of his time in the realm of instrumental music - indeed, probably the first musician to achieve supreme stature simultaneously in music for voices, for instrumental consort, and for solo keyboard instrument. 

In the hands of Pieter-Jan Belder, whose experience in the field of 17th-century keyboard music is almost unrivaled, these songs and dances and themes and variations seem to develop and unfold as naturally as a tree buds and spreads. Only one recording of Byrd’s complete music for keyboards has been made before now, and it is now unavailable, leaving this new recording by Pieter-Jan Belder in magnificent solitude. The collection begins with two discs of pieces for organ, played on a trio of Dutch instruments chosen for their varied colours and sizes. CD3 and 4 contains the pieces to be found in the Fitzwilliam Virginal Book, of which Belder made the first ever complete recording for Brilliant Classics. The last three discs are dedicated to My Lady Nevells Booke, the beautifully preserved collection which most comprehensively preserves his contribution to keyboard literature.

CONTENTS:

• Byrd: John come kiss me now
• Byrd: Pavan MB16a
• Byrd: Galiard MB16b
• Byrd: Pavana, BK 60a 'Ph. Tr.'
• Byrd: Galliard, BK 60b
• Byrd: Lady Monteagle's Pavan
• Byrd: A Ground, BK9
• Byrd: The Queen's Alman
• Byrd: If My Complaints
• Byrd: Pavana "The Earle of Salisbury"
• Byrd: Galliards, BK15b / c
• Byrd: Susanna fair
• Byrd: An Alman, BK117
• Byrd: Echo Pavan and Galliard in G major, No. 5
• Byrd: Pavan, BK76
• Byrd: Galliard, BK77
• Byrd: The Bells
• Byrd: Robbin Hood, MBV63
• Byrd: Pavan & Galliard, BK100
• Byrd: A Praeludium, BK116
• Byrd: Ut, re, mi, fa, sol, la, BK58
• Byrd: Three French Corantos
• Byrd: O quam gloriosum est regnum
• Byrd: ….Secunda pars, BK120
• Byrd: Go from my window, BK79
• Byrd: A Horne Pype, BK39
• Byrd: Pavana Lachrymæ
• Byrd: Galiarda, BK55 (Harding set by Byrd)
• Byrd: Paven, BK73a
• Byrd: Galiard, BK73b
• Byrd: A Grounde, BK43
• Byrd: A Pavion, BK23a
• Byrd: Galliard, BK23b
• Byrd: A fancy
• Byrd: If My Complaints
• Byrd: Pavan, BK33a
• Byrd: Galliard, BK33b
• Byrd: Care for thy Soule, MBLV52
• Byrd: Galliard in C major 'Mistress Mary Brownlow'
• Byrd: Paven, BK72a
• Byrd: Galliard, BK72b
• Byrd: Parludam, BK115
• Byrd: A Ground, BK86
• Byrd: Lavolta, MB91
• Byrd: Pavan, BK99a
• Byrd: Galliard, BK99c
• Byrd: Quadran Pavan, MB70a
• Byrd: The Quadran Galliard, MB70b
• Byrd: The Hunt's up
• Byrd: Pavana, BK4a
• Byrd: Galliarda, BK4b
• Byrd: Prelude in A minor
• Byrd: Fantasia, BK13
• Byrd: Pavan in D BK52a
• Byrd: Galliard in D Minor, MB52b
• Byrd: Fantasia in G major
• Byrd: Wolsey's Wilde
• Byrd: Ut mi re, BK65
• Byrd: O Mistrys Myne
• Byrd: The Ghost
• Byrd: Sir John Gray’s Galliard
• Byrd: Gypsies Round
• Byrd: Monsieur´s Alman
• Byrd: Malt’s come down
• Byrd: A Medley
• Byrd: Pavana Delight
• Byrd: Galliarda [Delight], BK5b
• Byrd: Miserere a3
• Byrd: Miserere a4
• Byrd: Callino casturame
• Byrd: Pavan Bray, BK59a
• Byrd: Gailliard Bray
• Byrd: Doctor Bulls my selfe - A Gigge
• Byrd: Prelude, MB24
• Byrd: Galliarda [Bray], BK59b
• Byrd: A Gigg, BK22
• Byrd: Prelude, MB24
• Byrd: Pavan, BK101
• Byrd: Corranto
• Byrd: Fortune, BK6
• Byrd: Alman, BK11
• Byrd: Galliard, BK53
• Byrd: Monsieur´s Alman
• Byrd: Alman, BK89
• Byrd: La Volta
• Byrd: In Nomine, BK51
• Byrd: Prelude, MB1
• Byrd: Fantasia MB63
• Byrd: Christe qui Lux
• Byrd: Fantasia, MBLV55
• Byrd: In Nomine, BK51
• Byrd: Ut re mi fa sol la
• Byrd: Gloria tibi Trinitas
• Byrd: A Ground, BK9
• Byrd: Prelude & Fantasia in A Minor, BK12&13
• Byrd: The Queen's Alman
• Byrd: Voluntary for my Lady Nevell
• Byrd: Pavan Lachrymae, BK54
• Byrd: Fantasia MB62
• Byrd: Fantasia 'A Lesson of Voluntaire'
• Byrd: Miserere (I), BK66
• Byrd: Miserere (II), BK67
• Byrd: Ut, re, mi, fa, sol, la, BK58
• Byrd: Ut re mi fa sol la
• Byrd: A Verse of Two Parts
• Byrd: A Fancie in D minor, BK46
• Byrd: Salvator Mundi, BK68
• Byrd: Salvator Mundi, BK69
• Byrd: A Voluntary, BK27
• Byrd: Clarifica me, BK47
• Byrd: Clarifica me, BK48
• Byrd: Clarifica me, BK49
• Byrd: Prelude and Fantasia in C major, BK24&25
• Byrd: My Ladye Nevells Booke