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Hyperion Records

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William Mundy’s Te Deum ‘for trebles’ from the Chirk Castle Part-Books. MS Mus.Res.*MNZ(Chirk).
The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundations
Track(s) taken from CDA67695
Recording details: July 2008
Merton College Chapel, Oxford, United Kingdom
Produced by David Trendell
Engineered by Justin Lowe
Release date: April 2009
Total duration: 7 minutes 50 seconds

'The new works are undoubtedly significant additions to the repertoire. On that count alone this recording is self-recommending. An even greater name among the new additions is that of Tallis … the predominant sonority is familiarly clear, transparent and assured … for the sake of the new pieces alone, lovers of this repertory will welcome this enthusiastically' (Gramophone)

'This is a beautifully conceived and exquisitely carried out program with much historical interest' (American Record Guide)

'You will never hear a more judiciously balanced, vocally better matched, nor technically more accomplished choral group than the 12-voice Brabant Ensemble. Founder/director Stephen Rice has assembled an exemplary company of voices aligned with repertoire that ideally suits the group's size and configuration. Combined with excellently recorded sound—from the Merton College Chapel venue favored by many choral ensembles—this production offers a program that's not only historically significant but that's worthy of repeated listening—intellectually involving, aesthetically pleasing, and emotionally engaging. How can you go wrong with that? Highly recommended!' (ClassicsToday.com)

Benedictus 'for trebles'
composer
unique to the Chirk Castle Part-Books; top part reconstructed by David Evans
author of text

The Te Deum and Benedictus ‘for trebles’ by William Mundy are designed on a large scale, exploiting the use of high trebles, and Mundy cleverly employs choral groupings of various types to provide maximum contrast. The textures throughout are reminiscent of Sheppard’s best Latin compositions and by intensifying the contrapuntal activity in the closing sections of both canticles, Mundy takes the music to an even higher level. The treble part must have been included in the lost part-book and it has therefore been reconstructed by the present writer.

from notes by David Evans © 2009

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