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Track(s) taken from CDS44461/7

Preludium, BK24

composer
Parthenia (No IV), FVB (No 24). [Neighbour, p 223]

Davitt Moroney (harpsichord)
Recording details: February 1997
Abbaye Royale de Fontevraud, France
Produced by John Hayward-Warburton
Engineered by Ken Blair
Release date: September 1999
Total duration: 1 minutes 8 seconds

Cover artwork: Phoenix. A glass window specially designed, made and photographed by Malcolm Crowthers.
 
1
Preludium BK24  [1'08]

Mary Brownlo (or Brownlow; born in about 1591) was the daughter of a successful lawyer, Richard Brownlow. She was married in November 1613, but the piece was published in Parthenia, at about the same time. Since she lived in London, the work provides evidence for Byrd’s continuing contacts with the capital at the end of his life. Her Galiardo is a vigorous and quite difficult piece, in the more modern style of galliard (with a slower basic rhythm and more semiquaver movement). This is probably among the last keyboard works that Byrd wrote, and may even date from when he was about seventy. Walker Cunningham has convincingly shown that many details in this unusual galliard are probably a response to Bull’s The Prince’s Galliard, written in the same original style; it would thus appear to be another case of ‘friendly emulation’.

These two pieces in C major (Ionian mode) are found together in the authoritative printed souce Parthenia, although the prelude also survives independently in the FVB (as well as in two other manuscripts where it is erroneously attributed to John Bull).

from notes by Davitt Moroney © 1999

Mary Brownlo (ou Brownlow ; née vers 1591) était la fille d’un avocat réputé, Richard Brownlow. Elle s’est mariée en novembre 1613, et sa gaillarde fut publiée dans Parthenia vers la même époque. Puisqu’elle vivait à Londres, l’œuvre nous fournit de précieux indices des liens toujours forts de Byrd avec la capitale vers la fin de sa vie. Cette Galiardo est une composition vigoureuse et brillante, dans un style de gaillarde plus moderne (le rythme de base est plus lent, laissant la place à plus d’activité en doubles croches). C’est probablement parmi les dernières pièces que Byrd ait écrites, datant de ses soixante-dix ans. Walker Cunningham a démontré de façon convaincante que plusieurs détails ici sont probablement une réponse de Byrd à une pièce de Bull, The Prince’s Galliard, écrite dans le même style novateur ; voici donc un autre cas d’“émulation amicale”

Ces deux pièces en ut majeur (mode ionien) se trouvent ensemble dans la source imprimée qui fait autorité, Parthenia, bien que le prélude existe indépendemment dans le FVB (ainsi que dans d’autres manuscrits où on l’attribue, à tort, à John Bull).

extrait des notes rédigées par Davitt Moroney © 1999

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