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> stile antico "heavenly harmonies", SACD

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Elephantus
post 30/06/2009, 14:57
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stile antico "heavenly harmonies" SACD


stile antico "heavenly harmonies" , SACD

Genre: Classical – Vocal

Гибридный SACD 5.0

stile antico
sopranos Helen Ashby, Kate Ashby, Alison Hill, Kirsty Hopkins 14-16, 20
altos Emma Ashby, Eleanor Harries, Carris Jones
tenors Peter Asprey, Andrew Griffiths, Tom Herford
baritones Will Dawes, John Herford
basses Oliver Hunt, Matthew O'Donovan

    THOMAS TALUS (c. 1505-1585)
    9 Psalm Tunes for Archbishop Parker's Psalter
    Neuf psaumes pour le psautier de I'archevêque Parker
    Neun Psalme für den Psalter des Erzbischofs Parker


    WILLIAM BYRD(c. 1540-1623)
    Motets

  1. TALLIS - Third Tune: Why fum'th in fight 0'56
  2. BYRD - Vigilate (Cantiones sacrae 1,1589) 4'16
  3. TALLIS - Fifth Tune: E'en like the hunted hind 1'04
  4. BYRD - Ne irascaris Domine (Cantiones sacrae I,1589) 9'38
  5. TALLIS - Second Tune: Let God arise 0'51
  6. BYRD - Exsurge Domine (Cantiones sacrae II, 1591) 4'30
  7. TALLIS - Sixth Tune: Expend, O Lord 1'10
  8. BYRD - Infelix ego (Cantiones sacrae II) 16'03
  9. TALLIS - Eighth Tune: God grant with grace 1'34
  10. BYRD - Laetentur coeli (Cantiones sacrae I) 3'39
  11. TALLIS - First Tune: Man blest no doubt 1'11
  12. BYRD - Quis est homo (Cantiones sacrae II) 7'13
  13. TALLIS - Veni creator: Come Holy Ghost 0'31

    BYRD - Mass Propers for Pentecost 8'23
  14. Introit: Spiritus Domini 4'31
  15. Offertory: Confirma hoc Deus 2'08
  16. Communion: Factus est repente (Gradualia II,1607) 1'43

  17. TALLIS - Seventh Tune: Why brag'st in malice 0'47
  18. BYRD - Tribulationes civitatum (Cantiones sacrae I) 10'27
  19. TALLIS - Fourth Tune: O come in one to praise the Lord 0'59
  20. BYRD - Laudibus in Sanctis (Cantiones sacrae II, 1591) 5'34

    Total Time 78:51

Recorded May 2007 at All Hallows Church, Gospel Oak, London
Producer: Robina G. Young
Recording Engineer & Editor: Brad Michel
Cover picture: vault of Ely Cathedral, Ely, Cambridgeshire, England, akg-images / Bildarchiv Monheim


harmonia mundi usa (HMU 807463, 0 93046 74636 0), 2008
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Elephantus
post 30/06/2009, 15:07
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Цитата( буклет )
At first glance,the combination of Tallis's famous psalm tunes with a collection of Latin motets by Byrd may seem rather like chalk and cheese. The psalm tunes, written for a new metrical psalter by Archbishop Matthew Parker in 1567, represent the epitome of the Protestant musical aesthetic: austere, homophonic settings in which the clarity of the (biblical) words was paramount. Byrd's motets, on the other hand, written for recusant Catholics and often setting Latin texts with subversive political overtones, surely represent the polar opposite; they are by no means austere, but exhaust the expressive capabilities of choral polyphony in response to the emotive qualities of the words.

Yet the two have more in common than meets the eye. Both were written with the intention that they would be performed by the faithful in the privacy of their own homes, rather than by professional choirs in chapels and churches. One can safely surmise that these would, for the most part, have been fairly small-scale performances, not necessarily one-per-part, as some have dogmatically suggested, but by few enough performers to gather round the dining-room table, or - for the well-heeled - in a private chapel. They were amateur performances, but not necessarily unskilful; Byrd himself is known to have joined in on occasions.

More importantly, it is sometimes overlooked that the musical language of Byrd's 1589 and 1591 motets owes far more to Reformation principles than it does to the pre-Reformation English style. What the Reformation (both the Protestant Reformation and the Catholic Reformation launched by the Council of Trent) forced upon musicians was a dynamic engagement with the words they were setting which was, contrary to popular perception, actually to nourish artistic development in the long term rather than starve it. So, while composers such as Tallis might initially have been frustrated by the puritanical limitations imposed by Edward VI in the late 1540s, it was, in retrospect, a painful but inevitable jolt along the road of progress. By contrast, the short-lived return to the pre-Reformation style under Catholic Mary in 1553-8, for all the encouragement it gave composers to write long, florid antiphons again, can only really be described as a backward step, recalling an old-fashioned, insular tradition whose music displayed only the most abstract engagement with the text. Byrd's motets bear comparatively little relationship to that old style, owing more to the concise and expressive language pioneered by Tallis during the 1560s.

Byrd was also amongst the first English renaissance composers to be influenced by continental trends, most notably through Alfonso Ferrabosco I, who served in Elizabeth's court intermittently during the early decades of her reign. By the 1560s, the music of the leading Italian composers, working under the influence of the Council of Trent, was also filtering through to England in printed motet books. The Catholic theologians had finally taken on board many of the same musical issues that had occupied the Protestant reformers a generation or two earlier: in 1562, an early draft of the eighth Tridentine canon decreed that church music 'should be designed not to afford empty delight to the ear, but in such a way that the words may be understood by all; and thus the hearts of the listeners caught up into the desire of heavenly harmonies...'(Concilium Tridentinum. Diariorum, actorum, epistularum, tractatuum nova collectio, ed. Societas Goerresi-ana (Freiburg, 1901-1916), vol. 8, 927) Although the final version was less restrictive than this, 'reformed' ideas about church music were clearly being bandied about in Rome, and composers were taking them on board.

Byrd certainly used them to his advantage. For him the technique of homophony, for example, was not so much an annoying restriction as a powerful expressive device reserved for the moments of greatest emotional intensity. One such moment is found towards the end of Tribulationes civitatum [track 18], where the desperate plea 'Open your eyes, Lord' ('Aperi oculos...') is given strikingly declamatory setting. A similar treatment is given to the beseeching 'miserere' passage in Infelix ego [track 8], and the stark portrayal of Jerusalem laid waste ('Sion deserta...') in Ne irascaris [track 4].

The Byrd motets performed here are all taken from the Cantiones sacrae of 1589 and 1591, with the exception of the Pentecost Propers [tracks 14-16], which come from his second book of Gradualia (1607). The two Gradualia books were the largest portion of a monumental plan to compose music for the year-round cycle of Catholic masses; the individual pieces, though full of character, tend towards functionality and brevity. By contrast, the 1589 collection contains some of Byrd's most subversively dramatic motets, many of which are expansive settings of texts used in Catholic propaganda. Recurrent themes include the destruction of Jerusalem and Babylonian exile (Ne irascaris and, by implication, Tribulationes civitatum)[i/] - events which the Catholics associated with their own plight - as well as that of the coming judgement ([i]Exsurge Domine [track 6] and Vigilate [track 2]).

Penitence was also a common thread, as the Catholics believed (with the exiled Jews of the Old Testament) that their suffering was a punishment for sin. Infelix ego is one of Byrd's most moving penitential motets; it seems that the text particularly resonated with the anguish of the persecuted Catholics. Its author, Girolamo Savonarola, a renowned (and controversially reformed) theologian of the late 15th century, wrote it shortly before his execution for heresy in May 1498. Tortured on the rack, he had confessed to the charges; Infelix ego - a highly personal meditation on Psalm 50 - was written immediately afterwards, and was surely an outpouring of sorrow at having betrayed his own beliefs under torture.

Where texts suggest dramatic or emotive treatment, Byrd pulls out all the stops. In Vigilate we hear in turn the crowing of the cock and the lethargic believer being lulled to sleep. In the most madrigalian of all the motets, Laudibus in Sanctis [track 20], the various musical instruments are jubilantly caricatured in the vocal lines, while a brief triple time section portrays the 'joyful dancers'. The drama and desperation of Exsurge Domine are conveyed by ever wilder ascending leaps on the word 'exsurge' ('arise'), including that of a minor ninth in the tenor.

Even in the sunnier Quis est homo [track12], Byrd finds the opportunity for a little tongue-in-cheek characterisation, where, at the point at which 'the eyes of the Lord are upon the just', the just ('justos') are portrayed with characteristic religiosity - a string of falling suspensions followed by a minor plagal cadence, which, even to Byrd's listeners, must have sounded fairly churchy! Similar illustrative techniques are at work in Laetentur coeli [track 10] - the florid melismata of the heavenly choirs ('laetentur coeli') contrast with a rather more raucous and chaotic response from the earth ('exsultet terra'). The mountains rejoice in a steeply ascending - and craggily descending - point, while 'his poor people' are portrayed with unassuming syllabic counterpoint and gracious harmonic inflections.

One of the expressive tools which is perhaps the least striking to our ears (perhaps because we are so familiar with its sound) is Byrd's use of what we now think of as the 'major key' for some of his most poignant motets. It is in Ne irascaris and Tribulationes civitatum that this technique is most powerfully used. Here the effect of the often 'diatonic', major sonorities, particularly when low in the tessitura, is to plumb the depths of expressivity. For the persecuted and marginalized Catholics in England, one might imagine that, sublime as it is in its own right, Byrd's earthly expression of their corporate sorrow mingled with hope might yet have encouraged them to a greater 'desire of heavenly harmonies'.

And, for all their austerity, Tallis's psalm tunes are not without their own expressive possibilities; their overt simplicity is inevitably inherent in their genre: metrical psalms were conceived so as to be performable by as wide a range of people as possible. Much of the diversity of these settings depends upon the use of the different modes and rhythmic qualities to characterise each melody, giving each its own unique character. Unfortunately, Parker's Psalter, though printed, never went on sale, though its rival - a psalter by Sternhold and Hopkins containing somewhat inferior, anonymous music - was a sell-out.

MATTHEW O'DONOVAN


Сопоставление двух авторов-оппонентов с Туманного Альбиона. Две традиции, две религии. Протестантские монофонные псалмы Таллиса и эмоциональные полифонические католические мотеты Бёрда. Давно, еще в школе, убедили в прогрессивность тогдашнего протестантизма, только в XVI, веке как-то наоборот это смотрится. Но это давние дела, а сегодня можно с удовольствием послушать обоих авторов в прекрасном исполнении молодых певцов. Они поют в церкви Всех Святых. Звучание сильно отличается от их следующего диска, где они представляют остальную Европу Возрождения. Там – мягкая сдержанность концертного зала, здесь – акустика свободного пространства церкви. Она не большая, но отличное ощущение высоты свода. Причем «ретроградному» Таллису, с его неспешными разворотами мелодии, такое окружение больше соответствует, уравнивая для слушателя обоих.


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