William Byrd: Gradualia Vol.1
Gradualia Vol.1
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- Marianische Messen
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William Byrd, der in England führende Komponist zu Zeiten Elizabeth I, scheint sich um 1593, seinem fünfzigsten Lebensjahr, von dem tätigen Leben am Hof zurückgezogen zu haben. Er zog mit seiner Familie von Harlington (nahe dem heutigen Flughafen in Heathrow) in ein Dorf, das weit in den ländlichen Gegenden von Essex und somit auf der anderen Seite Londons lag. Sein neues Zuhause in Stondon Massey war nur einige Mellen entfernt von Ingatestone, dem privateren der beiden Landsitze in Essex, die der Grossgrundbesitzer Sir John Petre, einer der reichsten Gönner Byrds, innehielt. Die Petres waren, wie Byrd und seine Familie, römisch-katholisch und Ingatestone galt als ein geschütztes Zentrum, wo die römische Liturgie ohne grosse Einmischung gegnerischer Authoritäten gefeiert werden konnte.
Byrds Umzug erwies sich auch als Anfang einer neuen kompositorischen Phase. Motetten über Protest und Drangsal, die in einem ausgedehnten, oft madrigalischen Stil geschrieben und deutlich auf die Situation der römisch-katholischen Minderheit in England gezielt waren, ergaben die Charakteristiken der Cantiones Sacrae von 1589 und 1591. Von 1593 an erdachte und vervollständigte Byrd das ehrgeizige Vorhaben, Musik für die römische Liturgie (und für Andachten außerhalb der Liturgie) in einem kurzen und prägnanten Stil zu schaffen, der in vieler Weise den Forderungen der katholischen Reformanten, vor allem den Jesuiten, denen er besonders nahe zu stehen schien, angepasst war.
William Byrd, the leading composer in Elizabethan England, appears to have retired from active life at court around 1593, his fiftieth year. He moved his family from Harlington (near the present Heathrow airport) to a village on the other side of London deep in the Essex countryside. His new home at Stondon Massey was a few miles from Ingatestone, the more private of the two Essex seats of a landed magnate named Sir John Petre, one of Byrd’s richest patrons. Like Byrd and his family, the Petres were Roman Catholics, and Ingatestone was a protected centre where the Roman liturgy could be celebrated with little interference from hostile authorities. Byrd’s move also marked the beginning of a new phase in his composition. Motets of protest and tribulation, written in an expansive and often madrigalian style, and clearly aimed at the situation of the Roman Catholic minority in England, had been characteristic of the Cantiones Sacrae of 1589 and 1591. From 1593 onwards Byrd conceived and brought to completion an ambitious plan to provide music for the Roman liturgy (and for extra-liturgical devotions) in a more concentrated, terse style that in many ways suited the requirements of the Catholic reformers, especially the Jesuits to whom he seems to have been especially close.
'If you didn't get this disc first time round, don't hesitate to buy it now' (Early Music Review)
'The singing is exquisite, the balance always right, the intensity of devotion always present' (Fanfare, USA)
'Just for fun I listened to all nine Alleluia settings one after the other and was astonished at the variety and interest of the music ... Byrd at his most impressive and sublime here in the glorious Nunc Dimittis and in the delicate intricacy of Optimam partem. The recording and performances are superb' (BBC Music Magazine Top 1000 CDs Guide)
Byrds Umzug erwies sich auch als Anfang einer neuen kompositorischen Phase. Motetten über Protest und Drangsal, die in einem ausgedehnten, oft madrigalischen Stil geschrieben und deutlich auf die Situation der römisch-katholischen Minderheit in England gezielt waren, ergaben die Charakteristiken der Cantiones Sacrae von 1589 und 1591. Von 1593 an erdachte und vervollständigte Byrd das ehrgeizige Vorhaben, Musik für die römische Liturgie (und für Andachten außerhalb der Liturgie) in einem kurzen und prägnanten Stil zu schaffen, der in vieler Weise den Forderungen der katholischen Reformanten, vor allem den Jesuiten, denen er besonders nahe zu stehen schien, angepasst war.
Product-Information:
William Byrd, the leading composer in Elizabethan England, appears to have retired from active life at court around 1593, his fiftieth year. He moved his family from Harlington (near the present Heathrow airport) to a village on the other side of London deep in the Essex countryside. His new home at Stondon Massey was a few miles from Ingatestone, the more private of the two Essex seats of a landed magnate named Sir John Petre, one of Byrd’s richest patrons. Like Byrd and his family, the Petres were Roman Catholics, and Ingatestone was a protected centre where the Roman liturgy could be celebrated with little interference from hostile authorities. Byrd’s move also marked the beginning of a new phase in his composition. Motets of protest and tribulation, written in an expansive and often madrigalian style, and clearly aimed at the situation of the Roman Catholic minority in England, had been characteristic of the Cantiones Sacrae of 1589 and 1591. From 1593 onwards Byrd conceived and brought to completion an ambitious plan to provide music for the Roman liturgy (and for extra-liturgical devotions) in a more concentrated, terse style that in many ways suited the requirements of the Catholic reformers, especially the Jesuits to whom he seems to have been especially close.
Rezensionen
'If you didn't get this disc first time round, don't hesitate to buy it now' (Early Music Review)
'The singing is exquisite, the balance always right, the intensity of devotion always present' (Fanfare, USA)
'Just for fun I listened to all nine Alleluia settings one after the other and was astonished at the variety and interest of the music ... Byrd at his most impressive and sublime here in the glorious Nunc Dimittis and in the delicate intricacy of Optimam partem. The recording and performances are superb' (BBC Music Magazine Top 1000 CDs Guide)
- Tracklisting
- Details
- Mitwirkende
Disk 1 von 1 (CD)
Gradualia: The Marian Masses
- 1 Suscepimus Deus
- 2 Iustitia
- 3 Magnus Dominus
- 4 Sicut audivimus
- 5 Alleluia
- 6 Senex puerum
- 7 Nunc dimittis sevum tuum
- 8 Responsum accepit Simeon
- 9 Salve sancta parens
- 10 Alleluia
- 11 Eructavit cor meum
- 12 Benedicta et venerabilis
- 13 Alleluia
- 14 Felix es, sacra virgo
- 15 Beata es, virgo Maria
- 16 Alleuia
- 17 Beata viscera
- 18 Alleuia
- 19 Rorate caeli
- 20 Benedixisti Domine
- 21 Tollite portas
- 22 Ave Maria
- 23 Alleuia
- 24 Ecce virgo concipiet
- 25 Alleuia
Marianische Messen II (Gradualien, 1607)
- 26 Nr. 1 Vultum tuum
- 27 Nr. 2 Alleluia
- 28 Nr. 3 Speciosus forma
- 29 Nr. 4 Alleluia
- 30 Nr. 5 Post partum
- 31 Nr. 6 Felix namque es
- 32 Nr. 7 Alleluia - Ave Maria
- 33 Nr. 8 Virga lesse
- 34 Nr. 9 Gaude Maria
- 35 Nr. 10 Diffusa est gratia
- 36 Nr. 11 Propter veritatem
- 37 Nr. 12 Alleluia
- 38 Nr. 13 Vultum tuum
- 39 Nr. 14 Gaudeamus omnes
- 40 Nr. 15 Assumpta est Maria
- 41 Nr. 16 Assumpta est Maria
- 42 Nr. 17 Optimam partem elegit
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