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Hyperion Records

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The Suffering of the Saints: St Paul on the Road to Damascus, from the Heures d'Etienne Chevalier (c1445) by Jean Fouquet (c1420-1480)
Musée Condé, Chantilly, France / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA67779
Recording details: April 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: February 2010
Total duration: 3 minutes 15 seconds

'Hyperion has done Byrd proud … it's a mixture also of the celebratory, as though the singers were congratulating themselves on a job well done—as well they might—and the pentitential, concluding with the full ensemble in a finely judged and quite extrovert Infelix ego, surely one of Byrd's most memorable motets … the commitment of singers and label alike is a cause for gratitude, perhaps even optimism. Congratulations to all concerned' (Gramophone)

'The Cardinall's Musick pays tribute to the whole landscape of Byrd's genius with a passion that ends the project on a high. As with the earlier instalments, Andrew Carwood's direction and programming are equally inspired … the centrepiece is the searing Infelix ego; here, the recusant Byrd explores a martyr's preparation for death, taking the listener through every emotional extreme before transcending the built-up tension in a glorious coda. The musical imagination of The Cardinall's Musick does full justice to that of Byrd. Unique about this ensemble is its expressiveness, whether members sing seamlessly as one or tug at each other's lines. The group's delivery is a sensual delight' (BBC Music Magazine)

Domine, salva nos
composer
6vv; Cantiones Sacrae 1591 xxxi
author of text
Magnificat Antiphon at Vespers on the Fourth Sunday after Epiphany

Introduction  EnglishFrançaisDeutsch
Domine, salva nos, a prayer for help and for the coming of peace, draws its text from the story of Christ rebuking the storm at sea (Matthew 8: 25–26). Byrd uses a downward scale for the word ‘perimus’ (‘we perish’) as the disciples can be seen sinking below the waves before a beautifully serene phrase for ‘tranquillitatem’ and the use of an unprepared dominant seventh to make the final cadence even more poignant.

from notes by Andrew Carwood © 2010

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