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.

The fifte pavian and galliarde, BK31

composer
Nevell (Nos 18, 19). [Neighbour, ‘Pavan & Galliard c2’ p 190]

 
Listeners who have followed the Nevell sequence this far will already have anticipated that this fifth pavan and galliard must be in the minor, and be of the ‘long’ kind. Indeed, here Byrd returns to the sombre C minor of the first Nevell pair, and like most of his more grave works in this form, it is a ‘16-bar’ pavan. The exceptional melodic richness of the pavan is characterised by the fact that each of its three strains is built on two different melodic ideas, each of which occupies half of the strain (eight bars); the second idea always intensifies the emotion expressed by the first, rising to a higher pitch while bringing into play more unusual and unexpected harmonies and dissonances. Byrd reserves the highest note in the piece, G, for the last section, and attentively surrounds it by his flattest harmonies of F minor and A flat major. The Galliard is one of Byrd’s most satisfying. The Nevell scribe, John Baldwin, added at the end the words laudes deo (‘praise be to God’).

from notes by Davitt Moroney © 1999

Les auditeurs qui ont suivi le cycle Nevell jusqu’ici, auront déjà compris que cette cinquième pavane et gaillarde doit être en mineur, avec des strophes longues. En effet, ici Byrd reprend le sombre ut mineur de la première pavane, et comme prévu, celle-ci est “à seize”. La richesse mélodique de la pavane est caractérisée par le fait que chacune des strophes est construite sur deux motifs différents, dont chacun occupe la moitié de la strophe (huit mesures). Le second motif exprime toujours une émotion plus intense que le premier : il monte plus haut, utilise des harmonies plus complexes et des dissonances inattendues. Byrd réserve la note la plus aiguë de la pièce, sol, pour la dernière strophe, en l’entourant de ses harmonies les plus “bémolisées” de fa mineur et la bémol majeur. La gaillarde est parmi les plus satisfaisantes de Byrd. Le copiste de Nevell, John Baldwin, ajoute à la fin laudes deo (“que Dieu soit loué”).

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: Pavian
Track 11 on CDS44461/7 CD6 [5'12] 7CDs Boxed set (at a special price)
Movement 2: Galliarde
Track 12 on CDS44461/7 CD6 [1'41] 7CDs Boxed set (at a special price)

Track-specific metadata for CDA66551/7 disc 6 track 12

Galliarde
Artists
ISRC
GB-AJY-98-55612
Duration
1'41
Recording date
18 December 1996
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 6 Track 12
    Release date: September 1999
    Deletion date: July 2010
    7CDs Superseded by CDS44461/7
  2. Byrd: The Complete Keyboard Music (CDS44461/7)
    Disc 6 Track 12
    Release date: September 2010
    7CDs Boxed set (at a special price)
Search

There are no matching records. Please try again.