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.

Pavana and Galliarda, BK52

composer
FVB (Nos 254, 255). [Neighbour, ‘Pavan & Galliard d1’ p 204]

 
The pavan is a ‘16-bar’ work, its six sections running to 96 semibreves. It is easy to hear how Byrd divides each of his 16-bar phrases in half, introducing a new theme (or a new version of an existing one) to renew the musical discourse. His long phrases are usually a sort of dialogue, not simply in his normal stretto counterpoint but also presenting two complementary and compatible ideas, each of which stirs up the other. As always, the melodies at the start are much more restrained and meditative than those in the closing sections. In a rather modern touch, Byrd seems to rely here on the contrast between the tonic minor (D) found in the first and third strains and the relative major (F), used for the whole middle strain. The lively galliard serves as an ideal foil to this careful and introspective composition, its rich chordal harmonies at the start giving way to lighter imitative textures. The three strains start on chords of D major, G major and F major, an unexpected scheme for a work in D minor. This pair probably dates from about 1590.

from notes by Davitt Moroney © 1999

La pavane est “à seize”, ayant six sections et quatre-vingt-seize semi-brèves. Il est aisé d’entendre comment Byrd divise chacune de ses phrases de seize mesures en deux, en introduisant un nouveau thème à la moitié de la phrase (ou une nouvelle version du thème annoncé) pour renouveler le discours musical. L’enchaînement de ses phrases longues est normalement une sorte de dialogue, écrit non seulement dans son contrepoint en strette habituel, mais également en proposant deux idées complémentaires. Ainsi, chacune influence l’autre. Comme d’habitude, les mélodies du début sont plus retenues et méditatives que celles de la fin. Par une touche assez moderne, Byrd semble ici vouloir mettre en valeur le contraste entre la tonalité mineure principale (ré), trouvée dans la première et la troisième strophes, et la tonalité majeure relative (fa), utilisée pour toute la deuxième strophe. La gaillarde vigoureuse est conçue en contraste à la pavane introspective. Les accords riches du début cèdent la place à des rythmes plus joyeux et à des textures plus légères. Les trois strophes commencent sur des accords de ré majeur, sol majeur et fa majeur, un schéma inattendu pour une œuvre en ré mineur. La pavane et la gaillarde datent probablement des années 1590.

extrait des notes rédigées par Davitt Moroney © 1999

Recordings

Byrd: The Complete Keyboard Music
CDS44461/77CDs Boxed set (at a special price)

Details

Movement 1: Pavana
Track 16 on CDS44461/7 CD5 [5'04] 7CDs Boxed set (at a special price)
Movement 2: Galliarda
Track 17 on CDS44461/7 CD5 [1'47] 7CDs Boxed set (at a special price)

Track-specific metadata for CDS44461/7 disc 5 track 17

Galliarda
Artists
ISRC
GB-AJY-98-55517
Duration
1'47
Recording date
14 February 1997
Recording venue
Abbaye Royale de Fontevraud, France
Recording producer
John Hayward-Warburton
Recording engineer
Ken Blair
Hyperion usage
  1. Byrd: The Complete Keyboard Music (CDA66551/7)
    Disc 5 Track 17
    Release date: September 1999
    Deletion date: July 2010
    7CDs Superseded by CDS44461/7
  2. Byrd: The Complete Keyboard Music (CDS44461/7)
    Disc 5 Track 17
    Release date: September 2010
    7CDs Boxed set (at a special price)
Search

There are no matching records. Please try again.