Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDS44461/7

Pavana and Galliarde the vi 'Kinbrugh Good', BK32

composer
Nevell (Nos 20, 21). [Neighbour, ‘Pavan & Galliard C2’ p 190]

Davitt Moroney (harpsichord)
Recording details: December 1996
Abbaye Royale de Fontevraud, France
Produced by John Hayward-Warburton
Engineered by Ken Blair
Release date: September 1999
Total duration: 6 minutes 33 seconds

Cover artwork: Phoenix. A glass window specially designed, made and photographed by Malcolm Crowthers.
 
1
Pavana  [4'49]
2
Galliarde  [1'44]

Kinborough Good, the daughter of Dr James Good, married Robert Barnewell some time before 1589, so this work was probably composed in the mid 1580s. Byrd’s alternation scheme has led us to expect a work in the major, and indeed this is in Ionian C major. However, instead of the expected ‘8-bar’ work, it is a ‘16-bar’ pavan, running to 96 semibreves. The compositional technique explores a more clearly imitative language than is often found in Byrd’s pavans and galliards. The melody of the galliard could almost be that of a popular folksong, showing how close Byrd always remained to simple song, even in the most carefully composed of his works. The Nevell scribe, John Baldwin, added at the end the words laus sit deo (‘praise be to God’).

from notes by Davitt Moroney © 1999

Kinborough Good, la fille du docteur James Good, est devenue l’épouse de Robert Barnewell avant 1589. Cette œuvre doit donc avoir été composée au milieu des années 1580. Le schéma d’alternance utilisé par Byrd jusqu’ici nous fait attendre une pavane en majeur, et en effet celle-ci est en ut majeur (mode ionien). En revanche, là où l’on attendait une pièce “à huit”, on en trouve une “à seize”, avec six sections et quatre-vingt-seize semi-brèves. La technique utilisée ici est plus imitative que d’habitude. La mélodie de la gaillarde aurait presque pu être une chanson populaire, ce qui démontre à quel point Byrd reste toujours proche de la musique quasi folklorique, même dans une œuvre soigneusement travaillée. Le copiste de Nevell, John Baldwin, ajoute à la fin laus sit deo (“que Dieu soit loué”).

extrait des notes rédigées par Davitt Moroney © 1999

Waiting for content to load...
Waiting for content to load...
Search

There are no matching records. Please try again.