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Hyperion Records

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Phoenix. A glass window specially designed, made and photographed by Malcolm Crowthers.
Track(s) taken from CDS44461/7
Recording details: March 1992
Ingatestone Hall, Ingatestone, Essex, United Kingdom
Produced by Edward Kershaw
Engineered by Mike Hatch
Release date: September 1999
Total duration: 4 minutes 17 seconds

Go from my window, BK79
composer
Forster (No 56), BL Royal Music Library MS 23.l.4. (f. 83). [Neighbour, p 160]

Other recordings available for download
Davitt Moroney (harpsichord)
Introduction  EnglishFrançais
In 1587 John Wolfe was licensed to print a ballad with this title, although no copy is known to have survived. The words associated with the tune may have been close to those sung by Merrythought in Beaumont and Fletcher’s The Knight of the Burning Pestle (1613): ‘Go from my window love, go. / Go from my window my dear. / The wind and the rain / Will drive you back again, / Thou canst not be lodged here.’

Byrd’s work probably dates from the 1590s at the earliest, and is among his most mature compositions. It was included by Thomas Tomkins in his first list of Lessons of worthe. This work displays a particularly subtle approach to harmonic variety and keyboard figuration, where nothing occurs by rote and every phrase has little surprises. The calm lyricism is not really disturbed by the wide-ranging scales that gradually overtake the melody. The tune itself sometimes disappears, and yet the ear never loses track of it. At Variation 5 it moves into the tenor, in the left hand, and then starts migrating around the texture, as if searching for free fingers to play it. In the closing Variation 7, the melody is again down in the tenor, consistent with Byrd’s liking for a descant melody covering the tune at the end.

A keyboard setting of the same melody also exist by John Bull (in NYPL 5612), and a less adventurous one occurs twice in the FVB (Nos 9, 42), with conflicting attributions to both Thomas Morley and John Mundy. Several rather simple lute settings also survive: John Dowland’s is perhaps the best, although Edward Collard’s variations are excellent, as is an exceptionally fine anonymous set. Finally, there are two more complex consort settings, both of which must be later than Byrd’s: a version for ‘English consort’ by Richard Allison that appeared in Morley’s compilation of Consort Lessons (1599), and the splendid version for six-part consort which, although anonymous in the manuscript, is probably by Orlando Gibbons.

from notes by Davitt Moroney © 1999


Other albums featuring this work
'Byrd: Keyboard Music' (CDA66558)
Byrd: Keyboard Music
MP3 £7.99FLAC £7.99ALAC £7.99 CDA66558  Deleted  

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