Naxos
Byrd: My Ladye Nevells Booke / Elizabeth Farr
$35.99
Details
- Composer
- BYRD, WILLIAM
- Artist
- Elizabeth Farr
- Format
- CD
- Label
- Naxos
- Released
- Jul 31, 2007
- Catalog #
- 8570139-41
- UPC
- 747313013975
About
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
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
Tracklist 50 tracks
- Disc 1
-
1 My Ladye Nevels Grownde 06:37
- Track
- 1
- Title
- My Ladye Nevels Grownde
- Duration
- 06:37
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
2 Qui Passe, "for my ladye nevell" 04:25
- Track
- 2
- Title
- Qui Passe, "for my ladye nevell"
- Duration
- 04:25
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
3 The Marche before the Battell 04:33
- Track
- 3
- Title
- The Marche before the Battell
- Duration
- 04:33
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
4 I. The souldiers sommons 01:26
- Track
- 4
- Title
- I. The souldiers sommons
- Duration
- 01:26
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
5 II. The marche of footemen 00:57
- Track
- 5
- Title
- II. The marche of footemen
- Duration
- 00:57
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
6 III. The marche of horsmen 01:17
- Track
- 6
- Title
- III. The marche of horsmen
- Duration
- 01:17
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
7 IV. The trumpetts 01:11
- Track
- 7
- Title
- IV. The trumpetts
- Duration
- 01:11
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
8 V. The Irishe marche 01:32
- Track
- 8
- Title
- V. The Irishe marche
- Duration
- 01:32
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
9 VI. The bagpipe and the drone 01:15
- Track
- 9
- Title
- VI. The bagpipe and the drone
- Duration
- 01:15
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
10 VII. The flute and the droome 02:04
- Track
- 10
- Title
- VII. The flute and the droome
- Duration
- 02:04
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
11 VIII. The marche to the fighte 02:28
- Track
- 11
- Title
- VIII. The marche to the fighte
- Duration
- 02:28
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
12 IX. The retreat 00:54
- Track
- 12
- Title
- IX. The retreat
- Duration
- 00:54
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
13 The Galliarde for the Victorie 02:12
- Track
- 13
- Title
- The Galliarde for the Victorie
- Duration
- 02:12
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
14 The Barelye Breake 09:31
- Track
- 14
- Title
- The Barelye Breake
- Duration
- 09:31
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
15 A Galliards Gygge 02:16
- Track
- 15
- Title
- A Galliards Gygge
- Duration
- 02:16
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
16 The Huntes upp 07:54
- Track
- 16
- Title
- The Huntes upp
- Duration
- 07:54
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
17 Ut, re, mi, fa, sol, la 08:37
- Track
- 17
- Title
- Ut, re, mi, fa, sol, la
- Duration
- 08:37
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
18 The Firste Pavian 04:41
- Track
- 18
- Title
- The Firste Pavian
- Duration
- 04:41
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
19 The Galliarde to the Firste Pavian 01:57
- Track
- 19
- Title
- The Galliarde to the Firste Pavian
- Duration
- 01:57
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
20 The Seconde Pavian 02:46
- Track
- 20
- Title
- The Seconde Pavian
- Duration
- 02:46
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
21 The Galliarde to the Seconde Pavian 02:06
- Track
- 21
- Title
- The Galliarde to the Seconde Pavian
- Duration
- 02:06
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
22 The Third Pavian 04:51
- Track
- 22
- Title
- The Third Pavian
- Duration
- 04:51
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
23 The Galliarde to the Third Pavian 01:54
- Track
- 23
- Title
- The Galliarde to the Third Pavian
- Duration
- 01:54
- Composer
- William Byrd
- Performer
- Elizabeth Farr
- Disc 2
-
1 The Fourth Pavian 02:38
- Track
- 1
- Title
- The Fourth Pavian
- Duration
- 02:38
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
2 The Galliarde to the Fourth Pavian 01:57
- Track
- 2
- Title
- The Galliarde to the Fourth Pavian
- Duration
- 01:57
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
3 The Fifte Pavian 04:43
- Track
- 3
- Title
- The Fifte Pavian
- Duration
- 04:43
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
4 The Galliarde to the Fifte Pavian 01:56
- Track
- 4
- Title
- The Galliarde to the Fifte Pavian
- Duration
- 01:56
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
5 Pavana the Sixte, "Kinbrugh Goodd" 05:02
- Track
- 5
- Title
- Pavana the Sixte, "Kinbrugh Goodd"
- Duration
- 05:02
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
6 The Galliarde to the Sixte Pavian 01:58
- Track
- 6
- Title
- The Galliarde to the Sixte Pavian
- Duration
- 01:58
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
7 The Seventh Pavian 04:36
- Track
- 7
- Title
- The Seventh Pavian
- Duration
- 04:36
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
8 The Eighte Pavian 04:47
- Track
- 8
- Title
- The Eighte Pavian
- Duration
- 04:47
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
9 The Passinge Mesures, "The Nynthe Pavian" 07:20
- Track
- 9
- Title
- The Passinge Mesures, "The Nynthe Pavian"
- Duration
- 07:20
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
10 The Galliarde to the Nynthe Pavian 05:31
- Track
- 10
- Title
- The Galliarde to the Nynthe Pavian
- Duration
- 05:31
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
11 A Voluntarie, "For my ladye nevell" 05:37
- Track
- 11
- Title
- A Voluntarie, "For my ladye nevell"
- Duration
- 05:37
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
12 Will Yow Walke the Woods soe Wylde 04:35
- Track
- 12
- Title
- Will Yow Walke the Woods soe Wylde
- Duration
- 04:35
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
13 The Maydens Song 05:46
- Track
- 13
- Title
- The Maydens Song
- Duration
- 05:46
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
14 A Lesson of Voluntarie 09:17
- Track
- 14
- Title
- A Lesson of Voluntarie
- Duration
- 09:17
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
15 The Second Grownde 09:49
- Track
- 15
- Title
- The Second Grownde
- Duration
- 09:49
- Composer
- William Byrd
- Performer
- Elizabeth Farr
- Disc 3
-
1 Have with Yow to Walsingame 09:20
- Track
- 1
- Title
- Have with Yow to Walsingame
- Duration
- 09:20
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
2 All in a Garden Grine 04:47
- Track
- 2
- Title
- All in a Garden Grine
- Duration
- 04:47
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
3 Lord Willobies Welcome Home 02:59
- Track
- 3
- Title
- Lord Willobies Welcome Home
- Duration
- 02:59
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
4 The Carmans Whistle 05:06
- Track
- 4
- Title
- The Carmans Whistle
- Duration
- 05:06
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
5 Hughe Ashtons Grownde 08:36
- Track
- 5
- Title
- Hughe Ashtons Grownde
- Duration
- 08:36
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
6 A Fancie 06:21
- Track
- 6
- Title
- A Fancie
- Duration
- 06:21
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
7 Sellingers Rownde 07:32
- Track
- 7
- Title
- Sellingers Rownde
- Duration
- 07:32
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
8 Munsers Alman 08:28
- Track
- 8
- Title
- Munsers Alman
- Duration
- 08:28
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
9 The Tennthe Pavian, "Mr. W. Peter" 05:06
- Track
- 9
- Title
- The Tennthe Pavian, "Mr. W. Peter"
- Duration
- 05:06
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
10 The Galliarde to the Tenneth Pavian 02:18
- Track
- 10
- Title
- The Galliarde to the Tenneth Pavian
- Duration
- 02:18
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
11 A Fancie 06:05
- Track
- 11
- Title
- A Fancie
- Duration
- 06:05
- Composer
- William Byrd
- Performer
- Elizabeth Farr
-
12 A Voluntarie 03:31
- Track
- 12
- Title
- A Voluntarie
- Duration
- 03:31
- Composer
- William Byrd
- Performer
- Elizabeth Farr