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Johnson’s Delighte inaugurates Byrd’s exceptionally rich contribution in this area. It is is a ‘16-bar’ pavan, its six sections running to 96 semibreves; the second strain starts in F major, reinforcing the G-Dorian modality. The sprightly galliard reworks in triple metre the key scheme and many of the melodic ideas presented in the pavan, a technique which Byrd avoids in his own original galliards; nevertheless, the practice was common at the time, and is used to excellent effect here. In John Ward’s words ‘Johnson draws us on by the ways in which he manipulates chords; he was a harmonist’. Byrd, while being an excellent harmonist, was also a fine melodist, as becomes quite clear in his varied repeats.
from notes by Davitt Moroney © 1999
Johnson’s Delighte inaugure la contribution exceptionnellement riche de Byrd à la forme. C’est une pavane “à seize”, avec six parties qui font quatre-vingt-seize mesures, en mode dorien (transposé en sol mineur). La deuxième strophe commence sur un accord de fa majeur, pour renforcer la couleur dorienne. La gaillarde robuste reprend en rythme ternaire la plupart des idées mélodiques et le schéma harmonique présentés dans la pavane, ce que Byrd ne fait pas dans ses propres gaillardes ; pourtant la pratique était courante et est utilisée ici à d’excellentes fins. Selon John Ward, “Johnson nous attire par sa façon de manipuler les accords ; c’est surtout un harmoniste”. Byrd, lui-même excellent harmoniste, est également grand mélodiste, comme on peut le voir dans ses reprises variées.
extrait des notes rédigées par Davitt Moroney © 1999
Byrd: Keyboard Music ‘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)» More |