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Track(s) taken from CDA66850

Haec dies

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

Westminster Cathedral Choir, James O'Donnell (conductor)
Recording details: June 1995
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Release date: February 1996
Total duration: 2 minutes 42 seconds

Cover artwork: The Coronation of the Virgin by Fra Giovanni da Fiesole (d1455)
 
1
Haec dies  [2'42]

Other recordings available for download

The Cardinall's Musick, Andrew Carwood (conductor)

Reviews

'The answer to many prayers; a blockbusting survey of choral masterpieces performed by a choir of exceptional calibre' (Classic FM Magazine)

'For anyone eager to sample varied music from the Golden Age of polyphony this is a perfect disc' (Classic CD)

'If ever a programme was right up a choir's street, then this is it! From the fanfare-like opening of Exultate Deo and its soul-mates by Viadana, Gabrieli, Byrd and Monteverdi, through the linear beauties of Ave verum corpus (as set by Byrd and Philips) and Parsons' Ave Maria, the imploring devotion of Lotti's incomparable Crucifixus and the serenity of Tallis's O nata lux, all is brought glowingly alive. A real joy' (Organists' Review)
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

Haec dies (psaume 117: 24) est une débauche d’énergie qui, avec son mètre ternaire et son imitation serrée, ressortit plus au madrigal qu’au motet. Ce texte est très souvent utilisé à Pâques et la mise en musique de Byrd convient parfaitement à cette saison. Beaucoup croyaient en outre que ces paroles avaient été les dernières du jésuite Edmund Campion, torturé et exécuté après être venu du continent pour desservir la communauté catholique d’Angleterre. Cette version à six voix pourrait sembler l’antithèse de l’autre œuvre que Campion inspira à Byrd, Deus venerunt gentes (1589), et symboliser l’arrivée du jésuite au ciel plutôt que son douloureux départ de la terre.

extrait des notes rédigées par Andrew Carwood © 2010
Français: Hypérion

Haec dies (Psalm 117, 24) ist reichlich energiegeladen und gehört mit seinem Dreierrhythmus und seiner dichten Imitation eher in die Welt des Madrigals als die der Motette. Der Text wird zumeist zu Ostern eingesetzt und die Vertonung Byrds eignet sich für dieses Fest ganz besonders gut. Man ging außerdem davon aus, dass diese die letzen Worte des Jesuitenpaters Edmund Campion gewesen waren, der gefoltert und hingerichtet wurde, als er vom europäischen Kontinent zurückkehrte, um für die katholische Gemeinschaft Englands zu sorgen. In diesem Falle würde Byrds sechsstimmige Vertonung in direktem Gegensatz zu dem anderen Stück stehen, dass von Campion inspiriert war—nämlich Deus venerunt gentes (1589)—und Campions Ankunft im Himmel darstellen und nicht sein schmerzvolles Verlassen der Erde.

aus dem Begleittext von Andrew Carwood © 2010
Deutsch: Viola Scheffel

Other albums featuring this work

Byrd: Infelix ego & other sacred music
Studio Master: CDA67779Studio Master FLAC & ALAC downloads available
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