This disc provides an opportunity to explore the music of the proud Englishman, the devoted friend, the loyal subject, and the faithful servant that was William Byrd, on the occasion of the 400th anniversary of his death. Through a collection of songs and instrumental works performed by the Chelys Consorts of Viols joined by tenor violist Harry Buckoke and mezzo-soprano Helen Charlston, this recording introduces this key figure of the English Renaissance music: both devoutly Catholic and a favourite of the Protestant Queen, a serious character capable of weighty contemplation but also sharp wit and humour, and the loyal friend who wrote so personally and touchingly. Beginning with Thou poet’s friend, a celebration of the union of poetry and music, the ensemble’s carefully chosen works are in turn gay, sad, religious and secular, culminating in one of the best and most moving consort songs ever composed, Ye sacred Muses, a tribute to Thomas Tallis, Byrd’s teacher, colleague and friend. The seven instrumental pieces showcase Byrd’s inventiveness with their unexpected runs, cross-rhythms, daring harmonies, lively dances and the joy of sheer virtuosity.

REVIEW:

The Honour of William Byrd offers a rounded portrait of this complicated composer – sombre and witty, Catholic yet a favorite of Elizabeth I. Songs lamenting the deaths of the courtier Philip Sidney and Byrd’s mentor Thomas Tallis stand out amid a consistently intriguing program. Played by the Chelys Consort and flawlessly sung by the mezzo-soprano Helen Charlston, the whole thing is beautifully done.

-- The Guardian (UK)

Byrd’s first song collection was published in 1588. In the following year he writes that he had ‘bene encouraged thereby, to take further paines therein, and to make the pertaker thereof, because I would shew my selfe gratefull to thee for thy loue, and desirous to delight thee with varietie, whereof (in my opinion) no Science is more plentifully adorned then Musicke.’ This 1589 collection, therefore, offers songs of 3, 4, 5 and 6 parts, ‘to serue for all companies and voyces: whereof some are easie and plaine to sing, [while] other more hard and dificult.’ Byrd clearly sought to be as inclusive as possible for all musicians, amateur and professional. With the 1589 collection, Byrd’s complete early song collections are now committed to recording. Together they provide a variety themes and textures, as well as vocal and instrumental combinations, demonstrating the richness of Elizabethan courtly music.

Renaissance English Recorders' with Julien Martin and the Résonances Consort revisits almost a century of music making and music publishing, corresponding roughly to the reigns of Henry VIII and Elizabeth I. The repertoire is selected from various sources including two highly important publications of instrumental music: John Dowland’s Lachrimae from 1604 and Anthony Holborne’s Pavans, Galliards & Almains from 1599. The tradition of playing harpsichords in ‘consort’ was widespread in the sixteenth and seventeenth centuries. To recreate that sound, Skip Sempé, Olivier Fortin and Emmanuel Frankenberg perform music played on virginals and harpsichord.

William Byrd was one of the greatest composers of the Renaissance. He was widely admired in his own time both at home and abroad and the influence he had on future generations of composers was immense. This programme explores the music of his influences, his colleagues and his pervading faith. In his 400th anniversary year, Byrd’s legacy is marked by the commission of two new pieces from acclaimed composer Dobrinka Tabakova, bringing his musical heritage firmly into the modern day. The two premieres, Arise Lord into thy rest and Turn our captivity, highlight the beauty of modern polyphony and showcase The Sixteen in a new light. The programme also features works by Van Wilder, de Monte, Clemens Non Papa and, of course, Byrd himself.

400 years ago, in 1623, England lost two of its greatest composers: William Byrd and Thomas Weelkes. In a program marking this double anniversary, The King’s Singers and Fretwork turn their focus to the bold personalities of these two men, Will and Tom. Featuring well-known gems by the two composers, alongside works which had never been recorded before and which are rarely heard live, Tom and Will unlocks some of the humanity behind these two giants of Elizabethan music. Presented in The King’s Singers’ unique style, this program is filled with beauty, drama and storytelling. As part of this project, The King’s Singers and Fretwork have commissioned two new works for their joint forces, by two of Britain’s great living composers: Sir James MacMillan and Roderick Williams. These works only feature in the version performed by The King’s Singers and Fretwork, but represent a commitment to keeping the spirit of Byrd and Weelkes alive in today’s musical landscape.

REVIEW:

Hand it to the King’s Singers for having been in existence since 1968 and still keeping it fresh after 55 years. Performances of madrigals and other pieces by Byrd and Weelkes are not new, but this one is a standout. Start with the group’s trademark vocal blend, which has never been better, and there is top-notch instrumental backing from Fretwork. The King’s Singers may be entertainers first and foremost, but here, they have brought listeners deeply into the world of the madrigal in a beautifully executed effort that rightly landed on classical best-seller charts in early 2023.

-- AllMusic.com (James Manheim)

Daniel-Ben Pienaar continues his campaign of performing early music on a modern piano with an abundant selection of Pavans & Galliards, Variations & Grounds by William Byrd. The 16th-century composer’s finest sets of dances and variations, featuring some of the Elizabethan era’s most popular tunes, set the standard for English keyboard music for generations to come. With astonishing virtuosity, Daniel-Ben elicits a wealth of color and textures from his Steinway model D. Two-and-a-half hours of music spread over two albums, this is most substantial survey of Byrd’s keyboard music ever recorded on a modern piano, and ranges from frequently-heard works such as the First Pavan and Sellinger's Round to little-known gems like Callino Casturame and the late, great Quadran Pavan and Galliard.

REVIEWS:

With Bach, pianists have ever determined his music too important to be left just to harpsichord or other period instruments. Not with Byrd. Daniel-Ben Pienaar’s 2-CD set of 28 keyboard pieces appearing in the quatercentenary year of Byrd’s death is its largest album presentation on piano, with 13 items, noted in the contents list at the end of this review, recorded on piano for the first time. Its title, ‘Pavans & Galliards, Variations & Grounds’ shows Pienaar concentrates on the two categories in which Byrd was most prolific.

Pienaar’s Pavan & Galliard in C minor (CD1, tr. 1) begins with a Pavan of majestic beauty and breadth, the opening four chords spaciously arpeggiated...The Galliard (tr. 2) is livelier and more robust, with more bounce from Pienaar and clipped shorter notes.

The Pavan & Galliard in A minor is surprisingly gorgeous: the Pavan of underlying sadness with enough gleams of light to allow also a calmness, breadth and sublimity in Pienaar’s presentation...The Galliard is from Pienaar rampant verve, the repeats of all three strains with constant running quavers in either treble or bass.

The Pavan, Galliard & Second Galliard, The Earl of Salisbury is well-known, perhaps because short and straightforward. Pienaar plays the Pavan with an easy familiarity, like welcoming an old friend. It manages to be both dignified and convivial, its first phrase confidently shaped...In the Galliard the emphasis of its first phrase is on bold, rising motifs in constant interplay between treble and tenor voices.

Go from my window (CD2, tr. 10) is simple, cheery and folksy. Pienaar presents it with an attractive lilt and feel of cheekiness as the short theme gradually rises in sequences to climax and then quickly recover its opening position...Pienaar makes it enchantingly effective.

[In the Walsingham Variations] Pienaar conveys a new airiness and sense of fantasy extension of the dance...Pienaar breathtakingly conveys this work’s ever new discoveries and dimensions around the theme’s secure return as mantra in, as Pienaar has written, “its range of mood from sober exposition to ecstatic culmination.”

My Lady Nevell’s Ground (CD2, tr. 3) is another where the melody above is the chief feature...lengthy semiquaver flourishes [are] deliciously lightly realized by Pienaar, like chancing on a byway of imaginative fantasy. I love the sparkle of his fast arpeggiation of the final chord, the byway terminated.

-- MusicWeb International

The Psalmes, Songs and Sonnets of 1611 was William Byrd’s final publication. And what a superbly fitting culmination to a lifetime of musical service it is! As well as being packed with variety and invention – including both sacred and secular music and using a range of forces from small trios to consorts to full choir – it is probably the happiest, most serene collection of music Byrd ever produced. Ahead of the 400th Anniversary of William Byrd’s death in 2023, The Sixteen and Harry Christophers are joined by celebrated Viol Consort, Fretwork, for this new complete recording of the Psalmes, Songs and Sonnets of 1611.

Richard Egarr’s impressive career, both as a solo keyboardist and conductor (notably with the Academy of Ancient Music), has cemented his reputation as one of the UK’s most compelling musicians. In his debut solo recording for Linn, Egarr charts the extraordinary breadth of invention at play in works by William Byrd. One of English music’s most influential figures, Byrd’s innovative style is evident throughout this well-chosen program of preludes, grounds and fantasies. The Fantasia in A minor, MB13, demonstrates the unlimited scope of Byrd’s imagination; intricate rhythms, surprising modulations and changing textures precede a finale requiring a previously unequalled level of dexterous virtuosity. Egarr similarly relishes the technical demands of Byrd’s descriptive masterpiece, ‘The bells.’ This incredible composition begins with a single toll before developing into an elaborate and thrillingly complex showpiece of pealing bells. Egarr’s elegant phrasing, infectious enthusiasm and rich embellishments result in insightful performances. “The music exploded with character under Egarr’s hands… His playing was fluid and assured.” (New York Classical Review)

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REVIEW:

At first glance, the selection looks challengingly serious, yet Egarr has no problem keeping our attention. The sheer sound of his playing is one thing, produced on a crisp, punchy but resonant Ruckers copy… It has a fruity bass; but Egarr also manages to make it sing sweetly in the middle and high registers. This is an outstanding celebration of Byrd as one of the first keyboard greats.

– Gramophone

"With this program of English music of the sixteenth and early seventeenth centuries, I realized what is every musician’s dream: to record and share with others a repertory very close to my heart. It was in 2005, and it was my very first disc. The choice of what I was going to record was even more important than usual. It seemed to me that this was the music that I was most ready to present to the public, and that would represent me best – since, for a young performer, a disc is also a visiting card.

I discovered the music of the English virginalists at the age of fifteen, when I heard a concert by Pierre Hantaï on the radio. It was a revelation. I had no idea a musical world like that even existed. I immediately went to play some of these pieces to Pierre Hantaï himself. That was my first approach to this repertory on the keyboard. Then the process of familiarization with it – like the progress of a relationship that gradually becomes more intimate – took place over ten years or so, until 2004, when I began a long period of preparation for this recording. The King’s Hunt and the In Nomine by Bull, The Queen’s Alman by Byrd and the Dolorosa of Philips – which you might describe as constant companions of mine – formed the basis of the program. Then I played my way through the entire output of Byrd and Bull so as to build the rest of it around them. I absolutely wanted to record on the Martin Skowroneck virginal belonging to Skip Sempé. I was also lucky that Philippe Humeau had just finished his Ruckers double transposing harpsichord, a magnifi cent and rare instrument, which guided some of my choices. The English repertory is very extensive. It was a true pleasure to have to select pieces from so many marvels.

I decided on the title Pescodd Time after the recording was finished. It was the ideal title for this album: it speaks of time – ‘the pea-gathering season’ in Elizabethan English – and it encapsulates the poetry and mystery of the Virginalists."

- Bertrand Cuiller

A beautiful set of the great William Byrd's harpsichord music, well-played on four excellent instruments.

My Lady Nevells Booke is a collection of 42 pieces for keyboard by William Byrd. It seems that it was compiled for, Elizabeth Bacon, the third wife of Sir Henry Nevell but there is some uncertainty surrounding this attribution. This luxurious book, bound in leather and decorated with gold, contains one of the largest groups of keyboard works by Byrd. It includes some pieces that are found only in this book and which appear to have been composed especially for this collection.

While many recordings of Byrd’s keyboard music exist, there seems to be no other complete set of the works in this book. There is one exception, of course, in the shape of Davitt Moroney’s extraordinary Complete Keyboard Music on Hyperion. In addition to this being a full recording of the collection, the set benefits from the use of four outstanding instruments by Keith Hill. They are a lautenwerk (or lute-harpsichord), which is used on the first piece of the set, as well as a dozen others; an Italian single manual harpsichord; and two Flemish double-manual Ruckers copies.

It has become somewhat trendy to record English keyboard music on multiple instruments. Moroney’s set includes several harpsichords, muselar virginal, clavichord, chamber organ, and organ. This gives a more varied range of colours than a single instrument is capable of delivering, and, in most cases, better represents the variety of instruments used at the time. We can contrast this with Bach’s music, where the harpsichord was the norm - though Bach probably played a clavichord at home, and much of his music sounds excellent on that instrument. English music of the kind found in My Lady Nevells Booke was played on a variety of instruments. Recordings like this therefore have the advantage not only of presenting excellent music, but also of providing a more “authentic” experience. This is how listeners might well have heard the music. Of course, they would never have heard all three-and-three-quarter hours of this music in one sitting.

As for the music itself, William Byrd’s keyboard music is both idiomatic of his time, and unique. The very first work in this set, My Ladye Nevels Grownde, played on lautenwerk, is a French-like work with broken chords and attractive melodies. Farr plays this with subtlety and detachment, letting the music come through. The lautenwerk fits this piece very well, as it does most of the others where it is used. Another very attractive ground, Hughe Ashtons Grownde, sounds almost like Couperin with its ornamentation and style brisé. The Italian harpsichord used gives it a beautiful, almost other-worldly sound. This piece is slow and introspective, and, again, the combination of music, performer and instrument is nearly perfect.

Many of Byrd’s keyboard pieces are combinations of galliards and pavans. These two-part works feature a first movement, the pavan, which is slow and melodic, much like a saraband. The second part is much more lively and rhythmic. Thematically related, the pavans are generally longer than the galliards, and one can imagine how people would dance to these types of music, though harpsichord pieces were more for simply playing than for accompanying dancers. Each pavan/galliard set is played here on a single instrument, with the instruments changing from one set to the next. Listening to just the pavans and galliards gives an excellent introduction to Byrd’s music, and highlights the varied colours and tones available from the four instruments used here.

While Byrd did not write suites, as the French or Germans did, he did produce some pieces that are relatively long in comparison. Several pieces go over the eight- or nine-minute mark, including the excellent Have With Yow to Walsingame, a set of twenty-two variations. The performance here is understated, and exploits every possible effect of the Colmar Ruckers copy on which it is played.

So we have here an exemplary recording of great music; Byrd was arguably England's greatest composer of music for the keyboard. Beautiful instruments are deployed and the sounds of all four are luscious. The sessions took place in a fine acoustics with a hint too much reverb, but otherwise the instruments can be heard in all their splendour. The picture is completed by sensitive and distinctive playing. Elizabeth Farr is an excellent performer and seems perfectly suited to this music. I regret to say that I was unfamiliar with her before hearing this set.

If you do not know William Byrd’s keyboard music, you have no excuse now. This is undoubtedly the best collection available for its price - thank you, Naxos. If you are familiar with this music, you’ll certainly want this 3 CD box. Not only is it well-played and on beautiful instruments, but it contains all the works from Lady Nevells Booke, the only such set available right now. Trust me; you simply can’t go wrong with this.

-- Kirk McElhearn, MusicWeb International

BYRD: Masses for Four and Five Voices

Classical Music

The fantasia was in the process of being adapted for keyboard from lute and consort music during William Byrd’s youth, and his formidable mastery of counterpoint brought the form to a pinnacle equivalent to his matchless vocal works. These splendours combine with lively dances and virtuoso display and quotations from songs of love and death. They also may hold fascinating symbols which mark secret Catholic allegiances, a gift for Elizabeth I, and a memorial to the tragic Mary, Queen of Scots. Our cover image shows the only possible contemporary impression of Byrd, as a Gentleman of the Chapel Royal at the funeral of Elizabeth I.

REVIEWS:

This is something of a concept album. It’s also a programme that has been toured and performed in concert many times and reaches fruition as a disc. It takes Elizabethan and Jacobean lute music and marries it to the poetry and theatre of the time. Sometimes a single track is given over to verse or a short scene from a play, spoken by Robert Aubry Davis; but also we hear a speech or lyric spoken above, as it were, lute accompaniment. This sometimes makes things difficult to judge artistically vis a vis Ronn McFarlane’s lute playing, but it’s a disc to be measured against a rather wider canvass than usual, a multi-disciplinary words and music presentation.

Most of the music is by Dowland, but there is one piece by Campion, another by Byrd and others by our old pal, Anonymous. The theatrical performances derive from Shakespeare - Henry VIII, The Taming of the Shrew, The Two Gentlemen of Verona - as well as Thomas Heywood’s A Woman Killed with Kindness. There are poems by Wyatt, with which we begin and end, Robert Herrick and Samuel Daniel. Thomas D’Urfey’s wickedly naughty The Wanton Trick is here too.

As an example of a theatrical presentation it works well. Whether it has longevity on disc is a moot point, because some of the extracts are very brief, and also because the lute, played behind the voice, is demonstrably there for evocative effect. Ronn McFarlane has a number of discs to his name of lute music and is indeed a fine player. There are times when he inclined to the brusque and overly metrical - one thinks of Mrs Winter’s Jump for example; the woman in question must have been quite a motoric figure if his playing is anything to go by.

Next we have the spoken element. The method in the Wyatt ‘title track’, and others, is this. Davis speaks the first stanza, and then McFarlane joins in behind him. Note though that they were separately recorded.

The texts are printed in full, and the booklet has been nicely designed and amusingly written (by Davis). Indeed the disc is cleverly programmed.

-- Jonathan Woolf, MusicWeb International

The harpsichord isn't the most ingratiating instrument to listen to for long periods, but when you hear one that's well-made--full-bodied, with a resonance that's complementary and well-integrated across registers (no clangorous bass trying to meld with tinny treble), you're in for what can be a very satisfying experience. And just how satisfying depends on the player and how he or she uses the particular instrument's registers and stops, and how clearly the fingering articulates the rhythms, which means a knowledgable and skillful managing of the spaces between the notes as well as the notes themselves. Gustav Leonhardt needs no introduction to fans of the harpsichord or of early music in general; he's one of the pioneers of modern technique and scholarship. And his instrument, a copy of the famous 1579 Lodewijk Theewes claviorgan by Malcolm Rose, is a magnificent example of 16th-century keyboard construction. This harpsichord can really make a sound--and the recording (you can really turn it up!) fully complements the instrument's very personable timbre and room-filling dynamic range. Not that Byrd's music is especially flamboyant--but the harpsichord's substantial tone allows these 14 pieces to move easily from parlor to concert hall with no degradation of their subtle structures or genteel dance origins. There's nothing overtly virtuosic in Byrd's writing--but that's the point. These works were for relatively ordinary folks to enjoy--and there's no doubt that if you have any interest in harpsichord music at all, when you hear Leonhardt's performances you will be among them. [1/12/2006]

--David Vernier, ClassicsToday.com