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Hyperion Records

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Portrait of Mary I by Hans Eworth (c1520-1574)
AKG London
Track(s) taken from CDA67874
Recording details: November 2010
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell
Release date: October 2011
Total duration: 3 minutes 44 seconds

'The Cardinall's Musick are at their best in this repertoire, and their performances have confidence and authority … Parsons certainly deserves the hearing that Carwood's musicians afford us, so this addition to the catalogue is very valuable' (Gramophone)

'Carwood and his singers highlight the inherent drama of Parsons' style, notably in O bone Jesu, with its changing textures, brilliant canons and expressive dissonances … perhaps the crowning glory of the disc is the final Ave Maria, the slow and poignant unfolding of which echoes long in the memory. Hyperion's detailed recording, swathed in the glowing acoustic of the Fitzalan Chapel, Arundel Castle, enhances these seraphic performances' (BBC Music Magazine)

'Parsons is not a one-hit-wonder after all … one may expect the incidence of Parsons' music on programmes to increase significantly especially after such a fine sound as Carwood generates' (Classic FM Magazine)

Peccantem me quotidie
composer
5vv ATTBarB; baritone part reconstructed by Michael Swithinbank
author of text
Seventh Respond at Matins, Office for the Dead

Introduction  EnglishFrançaisDeutsch
One link between composers of the mid-sixteenth-century is their penchant for producing sets of Lamentations and Responds from the Office of Matins in the Funeral Rite. No Lamentations have survived from Parsons but settings were produced by Tallis, Osbert Parsley, White (two sets), Alfonso Ferrabosco and Byrd. It is interesting to note these names when looking at the three Funeral Responds set by Parsons, as three similar Responds are set both by Alfonso Ferrabosco and William Byrd. Libera me, Domine (9th Respond) is an austere work with the plainsong cantus firmus maintained throughout in the tenor part. Peccantem me quotidie (7th Respond) sounds more modern even though it carries the plainsong tune as a cantus firmus in the contratenor I part; its lines are smoother and there is more step-wise movement in the melodies and a greater reliance on plangent harmonies.

from notes by Andrew Carwood © 2011

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