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Track(s) taken from CDA67779

Haec dies

6vv; Cantiones Sacrae 1591 xxxii
author of text
Psalm 117 (118):24

The Cardinall's Musick, Andrew Carwood (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
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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 21 seconds

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

Other recordings available for download

Westminster Cathedral Choir, James O'Donnell (conductor)
The Cambridge Singers, John Rutter (conductor)
King's College Choir Cambridge, Sir Stephen Cleobury (conductor)


‘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)
Haec dies (Psalm 117: 24) is a riot of energy and with its use of triple metre and close imitation it belongs more to the world of the madrigal than the motet. This text is most often used at Easter and the setting which Byrd has produced is perfect for this season. It was also widely believed that these were the final words of the Jesuit Father Edmund Campion who was tortured and executed having arrived from the Continent to minister to the Catholic community in England. Byrd’s setting for six voices could stand in direct opposition to his other Campion-inspired piece, Deus venerunt gentes (1589), and represent Campion’s arrival in heaven rather than his painful departure from earth.

from notes by Andrew Carwood © 2010

Haec dies (psaume 117: 24) est une débauche d’énergie qui, avec son mètre ternaire et son imitation serrée, ressortit plus au madrigal qu’au motet. Ce texte est très souvent utilisé à Pâques et la mise en musique de Byrd convient parfaitement à cette saison. Beaucoup croyaient en outre que ces paroles avaient été les dernières du jésuite Edmund Campion, torturé et exécuté après être venu du continent pour desservir la communauté catholique d’Angleterre. Cette version à six voix pourrait sembler l’antithèse de l’autre œuvre que Campion inspira à Byrd, Deus venerunt gentes (1589), et symboliser l’arrivée du jésuite au ciel plutôt que son douloureux départ de la terre.

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

Haec dies (Psalm 117, 24) ist reichlich energiegeladen und gehört mit seinem Dreierrhythmus und seiner dichten Imitation eher in die Welt des Madrigals als die der Motette. Der Text wird zumeist zu Ostern eingesetzt und die Vertonung Byrds eignet sich für dieses Fest ganz besonders gut. Man ging außerdem davon aus, dass diese die letzen Worte des Jesuitenpaters Edmund Campion gewesen waren, der gefoltert und hingerichtet wurde, als er vom europäischen Kontinent zurückkehrte, um für die katholische Gemeinschaft Englands zu sorgen. In diesem Falle würde Byrds sechsstimmige Vertonung in direktem Gegensatz zu dem anderen Stück stehen, dass von Campion inspiriert war—nämlich Deus venerunt gentes (1589)—und Campions Ankunft im Himmel darstellen und nicht sein schmerzvolles Verlassen der Erde.

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

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