Please wait...

Hyperion Records

Click cover art to view larger version
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: 2 minutes 21 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)

Haec dies
composer
6vv; Cantiones Sacrae 1591 xxxii
author of text
Psalm 117 (118):24

Other recordings available for download
Westminster Cathedral Choir, James O'Donnell (conductor)
Introduction  EnglishFrançaisDeutsch
Haec dies (Psalm 117: 24) is a riot of energy and with its use of triple metre and close imitation it belongs more to the world of the madrigal than the motet. This text is most often used at Easter and the setting which Byrd has produced is perfect for this season. It was also widely believed that these were the final words of the Jesuit Father Edmund Campion who was tortured and executed having arrived from the Continent to minister to the Catholic community in England. Byrd’s setting for six voices could stand in direct opposition to his other Campion-inspired piece, Deus venerunt gentes (1589), and represent Campion’s arrival in heaven rather than his painful departure from earth.

from notes by Andrew Carwood © 2010


Other albums featuring this work
'Exultate Deo' (CDA66850)
Exultate Deo

Show: MP3 FLAC ALAC
   English   Français   Deutsch