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

My Lady Nevell's Grownde, BK57

Nevell (No 1). [Neighbour, p 131]

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: 5 minutes 18 seconds

Cover artwork: Phoenix. A glass window specially designed, made and photographed by Malcolm Crowthers.

Other recordings available for download

Davitt Moroney (harpsichord)
This ground is one of Byrd’s finest based on a long bass pattern, and probably dates from no earlier than the mid-1580s. It has an overall structure akin to, and perhaps derived from, the Qui passe, for my Ladye Nevell, BK19. However, here he invented for himself a fundamentally more interesting harmonic pattern for the bass. The 24-bar ground contains three 8-bar phrases, each starting on the different chords of A major, G major and C major, respectively; the result is a considerably less foursquare phrase-structure than the one he was stuck with in the Qui passe, and a wider harmonic palette, allowing the work comfortably to occupy different tonal areas. There are six variations of increasing complexity, leading to a short but florid coda in which Byrd’s delight in the piece is as tangible as his reluctance to leave it.

from notes by Davitt Moroney © 1999

Ce ground est l’un des plus remarquables de ceux construits sur une longue basse. Il date probablement du milieu des années 1580. Sa structure est similaire à (et peut-être dérivée de) celle de Qui passe, for my Ladye Nevell, BK19. Pourtant, ici Byrd s’est inventé un schéma harmonique nettement plus intéressant. Les vingt-quatre mesures de la basse sont divisées en trois phrases de huit, dont chacune commence sur un accord différent, la majeur, sol majeur, ut majeur, respectivement. Le résultat est beaucoup plus souple que celui des phrases presque trop équilibrées que Byrd a dû accepter dans Qui passe. Il se donne ainsi une palette harmonique plus colorée, ce qui permet à l’œuvre d’occuper des zones tonales différentes. Il y a six variations d’une complexité grandissante et une courte coda, exubérante, dans laquelle la sensation du plaisir de Byrd à jouer, est presque aussi tangible que son sentiment de ne quitter la pièce qu’à contrecœur.

extrait des notes rédigées par Davitt Moroney © 1999

Other albums featuring this work

Byrd: Keyboard Music
Waiting for content to load...
Waiting for content to load...