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Hyperion Records

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Track(s) taken from CDA66558
Recording details: March 1992
Ingatestone Hall, Ingatestone, Essex, United Kingdom
Produced by Edward Kershaw
Engineered by Mike Hatch
Release date: June 2001
Total duration: 4 minutes 14 seconds

'Here, now, is a clever selection featuring all six of his instruments including the captivating muselar. Essential listening' (BBC Music Magazine)

‘A good compilation, showcasing Moroney’s playing as well as the breadth and richness of Byrd’s output’ (Early Music Review)

‘If your library is in need of some early keyboard works then you need look no further. Without exception the performances are excellent. Highly recommended’ (www.musicteachers)

The Carman's Whistle, BK36
Nevell (No 34), Forster (No 19), FVB (No 58), Weelkes (No 46). [Neighbour, p 155]

Other recordings available for download
Davitt Moroney (organ)
Introduction  EnglishFrançais
Thomas Tomkins noted the first phrase of the melody, without mentioning its title, on his list of Lessons of worthe, calling it ‘Another pretty grownd of Mr Byrds’; unfortunately, his copy of the music itself is now lost. By modern definitions it is not really a ground, being based not on a repeating bass pattern but on a varied treble melody, a popular Elizabethan tune in C major (Ionian mode). In Clement Matchett’s manuscript a copying date of 14 August 1612 is given although the work was probably composed some thirty years earlier. It probably dates from the early 1580s. There is also a fine set of variations for two lutes on the same tune, attributed to John Johnson.

Surprisingly, the first statement of the melody is preceded by four bars of introduction, at a lower octave. Then the 12-bar melody itself is heard, an octave higher, followed by eight further variations which alternate 2-part, 3-part and sometimes 4-part imitative passages. In the closing variation, the chordal texture reaches six parts and a satisfying descant is placed above the melody, following the procedure usually found at the end of Byrd’s sets of variations. It is easy to see why this constantly inventive and playful piece was popular in the sixteenth century. It must also have been frequently used as a teaching piece since six of the seven known sources have fingerings. I here play the work entirely at 4’ pitch, an octave higher than usual, a reference to the whistling carman (or carter) of the title; on sixteenth- and seventeenth-century organs and harpsichords the 4’ stop was intended to be occasionally used on its own.

from notes by Davitt Moroney © 1999

Other albums featuring this work
'Byrd: The Complete Keyboard Music' (CDS44461/7)
Byrd: The Complete Keyboard Music
MP3 £30.00FLAC £30.00ALAC £30.00Buy by post £33.00 CDS44461/7  7CDs Boxed set (at a special price)  

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