Hyperion Records

Mass for four voices
composer

Recordings
'Byrd: The three Masses' (CDA68038)
Byrd: The three Masses
Buy by post £10.50 CDA68038  NEW   Studio Master FLAC & ALAC downloads available
'Hyperion monthly sampler – September 2014' (HYP201409)
Hyperion monthly sampler – September 2014
HYP201409  Download-only monthly sampler NEW  
'Four Temperaments' (BKD487)
Four Temperaments
BKD487  Download only 20 October 2014 Release  
'Byrd: Playing Elizabeth's Tune' (CDGIM992)
Byrd: Playing Elizabeth's Tune
Buy by post £11.75 CDGIM992  Studio Master FLAC & ALAC downloads available
'Byrd: The Tallis Scholars sing William Byrd' (CDGIM208)
Byrd: The Tallis Scholars sing William Byrd
Buy by post £11.75 CDGIM208  2CDs for the price of 1  
'Byrd: The three Masses' (CDGIM345)
Byrd: The three Masses
Buy by post £11.75 CDGIM345  Last few CD copies remaining  
'Renaissance Giants' (CDGIM207)
Renaissance Giants
Buy by post £11.75 CDGIM207  2CDs for the price of 1  
'Renaissance Radio' (CDGIM212)
Renaissance Radio
Buy by post £11.75 CDGIM212  2CDs for the price of 1  
Details
Movement 1: Kyrie
Movement 2: Gloria
Movement 3: Credo
Movement 4: Sanctus and Benedictus
Movement 4a: Sanctus
Movement 4b: Benedictus
Movement 5: Agnus Dei

Mass for four voices
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Nothing is more essentially Catholic than settings of the Mass, a point which would not have been lost on Elizabeth I’s secret police, dedicated as they were to tracking down and harassing believers in the old religion. No one had set these texts in England since Queen Mary’s reign some decades before (and would not do so again for three hundred years), so Byrd’s trilogy stands isolated in time. But the really daring part of the story is that he published this music, admittedly in small volumes without title-pages, but with his name clearly given. Having taken such risks it is not surprising to find that the music itself is deeply expressive. The four-part Mass is perhaps the most personal as well as the earliest of the set, almost certainly written in 1592. It retains some techniques from the distant past, such as blurring the boundaries between the tenor and alto parts, yet there are moments of intensity – like the ‘dona nobis pacem’ – which Byrd never surpassed in all his later music.

from notes by Peter Phillips ę 2007

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