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Hyperion Records

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Orb of the world in Christ’s hand (detail from the Westminster Retable).
Copyright © Dean and Chapter of Westminster
Track(s) taken from CDA67928
Recording details: June 2011
All Hallows, Gospel Oak, London, United Kingdom
Produced by Jeremy Summerly
Engineered by David Hinitt
Release date: May 2012
Total duration: 3 minutes 33 seconds

'For a true celebration of the English high-treble phenomenon one need look no further than this. The amplitude of the basses makes a most wonderful balancing effect with the brightness of the boys and there are great surges of sound that almost lift you out of your seat. Just as you think they've given their all, a super-charged wave of glory takes it all to the next level. Their quiet singing is heavenly, too, and both ends of the dynamic spectrum are sublimely devotional' (Choir & Organ)

'The Gloria of Tye's magnificent Missa Euge bone brings you up short with some startlingly grumpy gestures and intriguing harmonic shifts, but the dark clouds never last long—the closing section of his glorious motet Peccavimus cum patribus nostris, for instance, resolves in an explosion of dazzling polyphony. Westminster Abbey Choir are on brilliant form here, trebles crisp and alert and lay vicars forthright and muscular' (The Observer)

'Immediately one is introduced to Tye's extraordinary sound-world of unusual cadences and rigorous alternation of high and low voices to achieve impressive effects. All of these are carefully allowed to speak for themeselves thanks to the judicious direction of Westminster Abbey's Organist and Master of the Choristers, James O'Donnell' (International Record Review)

Nunc dimittis
First line:
Lord, let thy servant now depart in peace
composer
author of text
Luke 2: 29-32

Introduction  EnglishFrançaisDeutsch
The English text of the Nunc dimittis is non-standard: it has features in common with versions from 1535 and 1539, and the musical setting predates the award of Tye’s doctorate in 1545. This canticle would seem to date from Tye’s Cambridge years, when the composer first fell under the influence of the Protestant reformer Richard Cox (later Archdeacon of Ely Cathedral and responsible for Tye’s appointment as Master of the Choristers there). The pervasive, almost self-conscious, use of imitation shows the influence of the modern Continental style, but the harmonic idiom and the manner of text-setting are quintessentially English.

from notes by Jeremy Summerly © 2012

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