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Track(s) taken from CDA67779

Laudate Dominum, omnes gentes

6vv; Gradualia 1607 xlv
author of text
Psalm 116 (117)

The Cardinall's Musick, Andrew Carwood (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: February 2010
Total duration: 2 minutes 45 seconds

Cover artwork: The Suffering of the Saints: St Paul on the Road to Damascus, from the Heures d'Etienne Chevalier (c1445) by Jean Fouquet (c1420-1480)
Musée Condé, Chantilly, France / Giraudon / Bridgeman Art Library, London


'Hyperion has done Byrd proud … it's a mixture also of the celebratory, as though the singers were congratulating themselves on a job well done—as well they might—and the pentitential, concluding with the full ensemble in a finely judged and quite extrovert Infelix ego, surely one of Byrd's most memorable motets … the commitment of singers and label alike is a cause for gratitude, perhaps even optimism. Congratulations to all concerned' (Gramophone)

'The Cardinall's Musick pays tribute to the whole landscape of Byrd's genius with a passion that ends the project on a high. As with the earlier instalments, Andrew Carwood's direction and programming are equally inspired … the centrepiece is the searing Infelix ego; here, the recusant Byrd explores a martyr's preparation for death, taking the listener through every emotional extreme before transcending the built-up tension in a glorious coda. The musical imagination of The Cardinall's Musick does full justice to that of Byrd. Unique about this ensemble is its expressiveness, whether members sing seamlessly as one or tug at each other's lines. The group's delivery is a sensual delight' (BBC Music Magazine)
There are some miscellaneous pieces in the Gradualia collections. It is possible that these were to be used during recusant services but it is perhaps more likely that they belong in the realm of spiritual entertainments for the home. Venite, exsultemus Domino and Laudate Dominum (both published in 1607) are settings of Psalm 94: 1–2 and the whole of Psalm 116 respectively. Byrd has not provided settings of the doxology to either piece but has added an affirmatory Alleluia and Amen to Venite, exsultemus Domino. Both pieces show Byrd flexing his considerable musical and intellectual muscle. Instrumental in concept, they rely on close imitation and vocal dexterity, indeed the writing in Venite, exsultemus is sometimes more reminiscent of the development section of a Classical symphony, with melodic cells thrown from one voice to another as the drama of the piece develops.

from notes by Andrew Carwood © 2010

Les recueils de Gradualia renferment des pièces diverses, qui purent être utilisées lors des services des recusants [personnes qui refusaient d’assister aux offices de l’Église anglicane—NdT] ou, plus probablement, qui furent des divertissements spirituels à usage privé. Venite, exsultemus Domino et Laudate Dominum (parus en 1607) mettent en musique l’un le psaume 94: 1–2, l’autre tout le psaume 116. Byrd n’y a adjoint aucune doxologie mais il a ajouté au Venite, exsultemus Domino un Alléluia et un Amen assertifs. Ces deux pièces nous le montrent faisant étalage de sa considérable force musicale et intellectuelle. De conception instrumentale, elles reposent sur l’imitation serrée et la dextérité vocale, l’écriture du Venite, exsultemus évoquant parfois davantage le développement d’une symphonie classique, avec des cellules mélodiques lancées de voix en voix à mesure que le drame évolue.

extrait des notes rédigées par Andrew Carwood © 2010
Français: Hypérion

In den Gradualia-Sammlungen befinden sich diverse Einzelstücke. Es ist möglich, dass diese für anti-anglikanische Gottesdienste gedacht waren, doch es ist wohl wahrscheinlicher, dass sie für die geistliche Erbauung in der Privatsphäre entstanden. Venite, exsultemus Domino und Laudate Dominum (beide 1607 veröffentlicht) sind jeweils Vertonungen von Psalm 94, 1–2 und des gesamten Psalms 116. Byrd vertonte für diese beiden Stücke die Doxologie nicht, fügte jedoch bei Venite, exsultemus Domino ein affirmatorisches Alleluia und Amen hinzu. In beiden Stücken demonstriert Byrd sein bemerkenswertes musikalisches und intellektuelles Talent. Beide sind instrumental angelegt und daher auf dichte Imitation und sängerische Gewandtheit angewiesen, und tatsächlich ist der Stil in Venite, exsultemus manchmal vergleichbar mit dem Durchführungsteil einer klassischen Symphonie, wobei melodische Zellen von einer Stimme zur nächsten gereicht werden, während sich das Drama des Stücks entfaltet.

aus dem Begleittext von Andrew Carwood © 2010
Deutsch: Viola Scheffel

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