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Tallis: Spem in alium

Tallis: Spem in alium

& other sacred music


Tallis:

In ieiunio et fletu

Blessed are those that be undefiled

Spem in alium for eight five-part choirs '40-part Motet'

God Grant we grace (Tallis Canon)

Robert Rice (baritone)

O Lord, open thou our lips

Wherewithal shall a young man cleanse his way?

Robert Rice (baritone)

O do well unto thy servant

My soul cleaveth to the dust

Short Service (Dorian) for 4 voices

The Lord be with you

Robert Evans (bass)

O sacrum convivium

Remember not, O Lord God

Hear the voice and prayer

Verily, verily I say unto you

O Lord, in thee is all my trust

Hodie nobis caelorum

Sing and glorify heaven's high majesty


The Cardinall's Musick's thrilling exploration of Tallis' sacred music comes to a glorious close with both versions of the great forty-part motet: 'Spem in alium' itself and 'Sing and glorify', the less familiar English-texted contrafactum.

“Carwood moulds the structures to great effect, with wide ranging dynamics from hushed groupings of eight voices to the full force.” BBC Music Magazine, December 2016 *****

“The placing of the lovely miniature God grant with grace just after the monumental Spem is very moving, and this In ieiunio is as fine an account of it as I can recall…Carwood’s ensemble give the sense of an unfolding tapestry, and the sound recording holds detail and monumentality in fine balance” Gramophone Magazine, November 2016

“The end of a highly distinguished contribution to the discography of Thomas Tallis.” MusicWeb International, 9th January 2017

“There’s a sonorous warmth to the lower voices, ameliorating the occasionally searing soprano, in a recording of great clarity which serves the 40 parts well” Choir & Organ, January 2017

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Tallis: Lamentations

Tallis: Lamentations

& other sacred music


Tallis:

Lamentations of Jeremiah I & II

In pace in idipsum

Short Service (Dorian) for 4 voices

Not every one that saith unto me

Solemnis urgebat dies

Sancte Deus

Dum transisset sabbatum

Why brag'st in malice

Salvator mundi, salva nos 1 - antiphon for five voices

Te Deum

Veni creator: Come Holy Ghost


Superlative performances of the Tallis Lamentations make this penultimate volume in The Cardinall’s Musick cycle something rather special. Andrew Carwood’s typically inspiring commentaries further enhance an album to savour.

“The singers reach the highest standards.” The Observer, 17th April 2016 *****

“This final volume of Tallis from The Cardinall’s Musicke continues the fine form of its predecessor. Their interpretation of the English-texted works shows how effective these contrapuntally unassuming settings can be when sung with conviction…the most comprehensive survey of Tallis since the Chapelle du Roi’s and consistently the more accomplished.” Gramophone Magazine, May 2016

“By approaching Tallis with authority, the singers of The Cardinall’s Musick illuminate his complex masterpieces” BBC Music Magazine, June 2016 ***

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Tallis: Ave, Dei patris filia

Tallis: Ave, Dei patris filia

& other sacred music


Parsons, W:

Out from the deep

Tallis:

Honor, Virtus et Potestas

Candidi Facti Sunt

Homo quidam fecit cenam magnam

Ave Dei patris filia

Christ Rising Again

Litany

The Lord be with you

Benedictus (Blessed be the Lord God of Israel)

Te Deum

Expend, O Lord

E'en like the hunted hind

Venite

O Lord, open thou our lips


The Cardinall’s Musick has returned to the studio—or, more accurately, to the perpendical gothic marvel that is the Fitzalan Chapel of Arundel Castle—to record more of the Tudor masterpieces of Thomas Tallis. The programme includes three beautiful Latin Responsories, the early Votive Antiphon Ave, Dei patris filia, and the Morning Canticles of the ‘Dorian’ Service.

“The sprawling majesty of Thomas Tallis’s Ave, Dei patris filia is brought to startling life here by both the fine voices of the Cardinall’s Musick and the scholarly detective work of David Allinson...Canticles, responses, Te Deum and the Litany are all sung with an almost string-like quality of tone and perfect unanimity.” The Guardian, 16th August 2015 ****

Presto Discs of 2015

Finalist

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Tallis: Ave, rosa sine spinis

Tallis: Ave, rosa sine spinis

& other sacred music


Tallis:

O salutaris hostia for five voices

Wipe Away my Sins

Why Fum'th in Fight?

Ave rosa sine spinis

Blessed be thy Name

Te lucis ante terminum I

In manus tuas

Te lucis ante terminum II

O come in one to praise the Lord

When Jesus went into Simon the Pharisee's house

Euge celi porta

Mass for four voices

Laudate Dominum

Miserere nostri, motet for 7 voices, P. 207

Salvator mundi, salva nos 2 - antiphon for five voices


The Cardinall’s Musick and their inspirational director Andrew Carwood present a further volume of their Gramophone-Award-winning series of Tallis’s sacred music.

This new album contains some of the most sublime music of the entire period, performed with The Cardinall’s Musick’s familiar committed, full-blooded and beautiful singing. In including both Tallis’s English and Latin settings, it demonstrates the composer’s mastery of the changing edicts imposed on him from above in this turbulent time.

Informative and scholarly booklet notes by Andrew Carwood place the music in its historical and liturgical context.

“[Ave, rosa spine spinis]...really brings out the best in the choir, which shows an intelligent sense of direction and a liveliness of execution. The duets in this work are managed very nicely, too, though the bass part at some points...lacks pliability. Elsewhere there is some quite spectacular singing...this present disc is no mean advocate for Tallis's musical imagination.” BBC Music Magazine, March 2015 ****

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Canticles from St Paul's

Canticles from St Paul's


Archer, M:

Benedicite, omnia opera

Gray, Alan:

Magnificat & Nunc Dimittis in F minor

Roth, A:

Jubilate

Stanford:

Magnificat & Nunc Dimittis in B flat, Op. 10

Tippett:

Magnificat & Nunc dimittis (Collegium Sancti Johannis Cantabrigiense)

Walmisley:

Magnificat and Nunc Dimittis in D Minor

Walton:

Coronation Te Deum

Wood, C:

Magnificat and Nunc dimittis (Collegium Regale)


The Canticles are the crowning glory of the Anglican liturgy and have afforded the greatest opportunity for musical development within the Anglican rite. Thousands of people daily hear the world-famous St Paul’s Cathedral Choir and organist Simon Johnson under their director of music Andrew Carwood singing these settings. Here these forces present a satisfying collection including nineteenth-century masterpieces by Stanford and Charles Wood, and from the twentieth century Walton’s Coronation Te Deum, written for the coronation of Queen Elizabeth II, and Tippett’s monumental work for St John’s College Cambridge.

GGramophone Magazine

Editor's Choice - September 2014

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Hyperion - CDA68058

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Tallis: Missa Puer natus est nobis

Tallis: Missa Puer natus est nobis

& other sacred music


anon.:

Puer natus est nobis

Tallis:

Salvator mundi, Domine

Missa Puer natus est nobis

Quod chorus vatum

Benedictus (Blessed be the Lord God of Israel)

Magnificat for 4 voices

Audivi vocem de caelo

Videte miraculum


Gramophone Record of the Year-winning group The Cardinall’s Musick continues its exploration of Tallis’s sacred music. These recordings not only showcase the greatest repertoire of the English Renaissance in dazzling performances, but also illustrate the complex historical and political background of the works and their genesis.

This volume presents Tallis’s extraordinary seven-voice Mass, Missa Puer natus est nobis, which dates from the Catholic reign of Mary I. In his fascinating booklet notes Andrew Carwood writes that this Mass is ‘something of a marriage between the English and Spanish Chapels, not only in its scoring but also in its sound world … the piece is sonorous and rich, a gorgeous background tapestry for a solemn celebration of the Mass, and has wonderful dramatic effects including the use of antiphony or dialogue between voices. It is a shame that Tallis wrote no more in this vein but, perhaps like Mary’s short-lived Restoration, it was a piece of the moment not to be repeated’.

Other works recorded here include what is possibly Tallis’s earliest work, the four-part Latin Magnificat, and the gloriously splendid Videte miraculum, a masterpiece with a ‘rich palette of colours, enhanced by suave melodic writing with a slow-moving harmonic pulse tinged with heart-achingly gorgeous cadences’.

“As one would expect from Andrew Carwood's experienced group, these performances are professional and musical. The chants are superbly sung, the pace is well judged if a little brisk, and the expressive dissonances glide perfectly together. The recording itself is very skilled and there is no hint of muddiness in the passages in low pitch.” BBC Music Magazine, June 2014 ****

“[The Mass is] sung here with customary perfection by the Cardinall's Musick, who polish other Tallis gems alongside it, most notablyVidete miraculum, a work of such sensuous beauty it quite eclipses the Mass.” The Observer, 16th March 2014 ****

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Hyperion - CDA68026

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Tallis: Salve intemerata & other sacred music

Tallis: Salve intemerata & other sacred music


Tallis:

O Lord, give thy holy spirit

Missa Salve intemerata

Man blest no doubt

Robert Evans (bass)

I call and cry to thee, O Lord

If ye love me

Domine, quis habitabit

A new commandment

Alleluia: Ora pro nobis

Robert Evans (bass) & Robert Rice (baritone)

Let God arise

Robert Rice (baritone)

Salve intemerata virgo


The Cardinall’s Musick and Andrew Carwood continue their exploration of the sacred music of the acknowledged master of the Tudor era, Thomas Tallis. This project follows the completion of their multi-award-winning series of Byrd’s Latin music.

Tallis’s career spans the reigns of four radically different and difficult monarchs, all of whom forced their own religious beliefs on an increasingly divided country. Their various attitudes to the religious questions of the day meant that each required different liturgies and different music to adorn them. Tallis excelled in every style, and this album contains examples of each of them, from the monumental Marian votive antiphon Salve intemerata virgo to the modest English-texted settings of I call and cry to thee and of Psalm translations by Elizabeth I’s Archbishop, Matthew Parker.

“These are commendably committed, full-blooded performances verging at times on over-ripeness...Generally, though, confidence inspires confidence, as in much of the Mass and in Domine, quis habitavit; as for Salve, intemerata, they make as good a case for it as I can recall. More, please.” Gramophone Magazine, October 2013

“In the anthems, particularly, the Cardinall's Musick pulls the listener into Tallis's splendid architecture, with perfect paragraphing and line shape. For the most part, though, it retains a poised distance, with the result that the stylistic contrasts between pre- and post-Reformation never clearly emerge.” BBC Music Magazine, November 2013 ****

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Byrd: The Great Service

Byrd: The Great Service

and other English music


Byrd:

The Great Service

Praise our Lord, all ye Gentiles

Unto the hills mine eyes I lift

Make ye joy to God all the earth

Turn our captivity

This Day Christ was Born


The Cardinall’s Musick are acknowledged as the foremost performers of Byrd’s music. Under their director Andrew Carwood they have recorded the complete Latin church music, the final volume of which won the Gramophone Record of the Year. Now they turn to Byrd’s English church music, a genre which shows the composer treading a path between his own innate Catholicism and the requirements of the reformed Church of England. But far from sublimating Byrd’s genius this difficult situation gave rise to one of his most fertile periods.

The Great Service was described as ‘the finest unaccompanied setting of the Service in the entire repertory of English church music’ upon its discovery in 1922. Written for ten voices, it is gorgeously lavish and grand—very different to the simple, unmelismatic style demanded by the Anglican clerics. Byrd did not publish it in his lifetime.

Also recorded here are five beautiful English settings on sacred themes, but probably written for performance in the home. They are masterpieces in miniature: each work is so distinctive and demonstrates Byrd’s genius for word-painting, his typically Elizabethan wit and of course his imaginative handling of polyphony.

“The singing is neat, clear and fluid, with beautifully elastic phrasing from the two tenors. The Nunc Dimittis provides the sweetest moments in the Great Service itself” BBC Music Magazine, Christmas 2012 ****

“This is good news indeed...Carwood is particularly good at lightening the mood when Byrd adopts triple time...[The Great] really needs a larger body of singers for the contrast between 'verse' and 'full' sections to be effective. In the Magnificat the proud aren't scattered vigorously enough for my taste...Don't be put off by my reservations: the performances overall are excellent” Gramophone Magazine, December 2012

“this new recording is something special. Wheter it's because of the sheer experience of having sung so much of Byrd's music as to have assimilated his musical language utterly, or whether it's simply the raw musicianship and cultivated intelligence of the performers, there's a clarity and intensity in each verse that is spine-tingling.” International Record Review, December 2012

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Hyperion - CDA67937

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Mozart: Missa solemnis & other works

Mozart: Missa solemnis & other works


Mozart:

Missa Solemnis in C major, K337

Lynda Russell (soprano), Lina Markeby (mezzo-soprano), James Oxley (tenor) & David Wilson-Johnson (baritone)

Church (Epistle) Sonata No. 17 in C major for organ & strings, K336

Simon Johnson (organ)

Regina coeli in C, K108

Lynda Russell (soprano)

Vesperae solennes de Dominica, K321

Lynda Russell (soprano), Lina Markeby (mezzo-soprano), James Oxley (tenor) & David Wilson-Johnson (baritone)


St Paul's Cathedral Choir & St Paul's Mozart Orchestra, Andrew Carwood

After almost a decade, Hyperion is delighted to welcome back the world-famous St Paul’s Cathedral Choir under its new director of music, Hyperion artist and also director of The Cardinall’s Musick, Andrew Carwood. Joined by the St Paul’s Mozart Orchestra and a quartet of renowned soloists, Carwood leads sparkling performances of a selection of Mozart’s sacred music. Although they were commissioned to be sung at church services in Salzburg, all these compositions are suffused with Mozart’s typically unerring sense of dramatic pacing and a sensuous, operatic treatment of solo lines, as well as crisp and energetic choral writing.

“this is a subtly devised and well-executed record” International Record Review, June 2012

“The boys and men of the choir blend well with the 40-strong orchestra and display their strength and security especially in the early Regina coeli...Full marks for the performances in general; full marks also to Carwood and St Paul's for headlining with this rarely performed Mass rather than the ubiquitous K317” Gramophone Magazine, August 2012

“most of the music here is performed by the good soloists and enthusiastic chorus with gusto, so the chief impression is of lusty praise...The St Paul's team seems to be enjoying itself, though the vibrato-free string playing is something of a hair shirt, and consorts oddly with the pleasure evident in what it is introducing or accompanying.” BBC Music Magazine, September 2012 ****

“The performances are thoroughly versed in eighteenth century period practice, although it appears that modern instruments are used. The soloists make a well-balanced team in the Missa Solemnis...Those wanting either a performance using period instruments or a more romantic view of Mozart will look elsewhere, but these genial performances are perfectly in scale and will be welcome to many.” MusicWeb International, July 2012

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Robert Parsons: Sacred Music

Robert Parsons: Sacred Music


Parsons, R:

Domine, quis habitabit?

Peccantem me, quotidie from Responds for the Dead

Holy Lord God Almighty

Deliver me from mine enemies

Retribue servo tuo

Solemnis urgebat dies

Magnificat

Libera me, Domine from Responds for the Dead

Credo quod Redemptor

O bone Jesu

Ave Maria


Gramophone award-winning ensemble The Cardinall’s Musick return to another master of the Renaissance, Robert Parsons. Very few records remain of the composer’s short life, and his musical output is often overlooked, perhaps in the shadow of the prolific William Byrd, his successor as a Gentleman of the Chapel Royal. However, his vocal writing is some of the most opulent of the period.

The Cardinall’s Musick give sublime performances of some of the composer’s most sumptuous choral works, from the remarkably sophisticated Magnificat to the dramatic O bone Jesu. As demonstrated in their previous recordings, their resonant, pure-toned singing is the perfect advocate for such exquisite polyphony. The ensemble’s seemingly effortless and magical performance of the glorious Ave Maria is the perfect conclusion to an enlightening recording.

“Carwood draws earthy, visceral performances; the ensemble's virile sound and Parsons's sinewy polyphony are a far cry from what some critics describe as the 'whitewashed', English choral tradition. Carwood and his singers highlights the inherent drama of Parson's [sic] style...Hyperion's detailed recording, swathed in the glowing acoustic of the Fitzala Chapel, Arundel Castle, enhances these seraphic performances.” BBC Music Magazine, December 2011

“The Cardinall's Musick are at their best in this repertoire, and their performances have confidence and authority...Like many composers of his time and place, Parsons can be heard to navigate between different styles according to the liturgical demands placed on him. He does so surefootedly...Parsons certainly deserves the hearing that Carwood's musicians afford us, so this addition to the catalogue is very valuable.” Gramophone Magazine, November 2011

“the disc is best in the three full choir numbers: Domine quis habitabit, where sopranos inspiringly contrast high and low; Solemnis urgebat, where they cling to the eternal heaven of a high cantus firmus; and the Magnificat where their top line canons wonderfully enrich the counterpoint. The lower-voice funeral Responds have an appropriately tomblike aura.” Classic FM Magazine, December 2011 ****

GGramophone Magazine

Editor's Choice - November 2011

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