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Musica Contexta translates literally as ‘music interwoven’, reflecting the group’s primary aim of presenting Renaissance music in the context of its original conception and function. They are joined on this recording by The English Cornett and Sackbut Ensemble and the harpsichordist Steven Devine.
The Great Service, consisting of settings of liturgical texts for Matins, Communion, and Evensong, is among the finest music by William Byrd for the Anglican Church. He wrote this grand-scale work for two five-part choirs who, for added contrast, would sing their respective parts facing each other from either side of the church. The size of the choir was used not so much for volume or declamatory effect, as for an extraordinarily rich variety of vocal textures and sonorities.
As well as constantly changing the combination of voices, Byrd was exceptionally inventive in countless other ways, for example by varying the phrase lengths and rhythms, by throwing in unexpected harmonies, and by repeating lines in ever more elaborate ways. The endless variety with which Byrd played with the available combinations gives the Great Service a kaleidoscopic character, which is very rare in late Renaissance music.
The Great Service is a prime example of how the written music only partially plots a Renaissance composer’s intentions for interpreters of today. It is the nature of Renaissance music, as it was written, deliberately to encourage different approaches. In the words of Simon Ravens, the Music Director of Musica Contexta: ‘That which we might consider frustratingly vague, they thought of as an open embrace of the broadest possible church of performers.’
He continues: ‘And although our performance resonates with thoughts of the Chapel Royal, we have not attempted to tie this recording, taken as a whole, to any particular occasion or place: the evidence for us to reconstruct any such event simply does not exist.’ It has been suggested, however, that the whole work may have been written for the fortieth anniversary in 1598 of Queen Elizabeth’s accession.
William Byrd: Gradualia, Book 2 (arr. for brass ensemble)
Constitues eos
William Byrd: The Great Service
Venite
William Byrd: Second Preces and Psalms
Second Preces and Psalms: Psalm 114: When Israel came out of Egypt
The Great Service
Te Deum
Benedictus
William Byrd: Sing Joyfully unto God Our Strength
Sing Joyfully unto God Our Strength
Gradualia, Book 2 (arr. for brass ensemble)
Nunc scio vere
The Great Service
Kyrie
William Byrd: Prelude in C major
Prelude in C major
The Great Service
Creed
Gradualia, Book 2 (arr. for brass ensemble)
Hodie Simon Petrus
William Byrd: First Preces and Psalms
First Preces and Psalms: Psalm 47: O clap your hands together, all ye people
The Great Service
Magnificat
William Byrd: Verse in C major
Verse in C major
The Great Service
Nunc dimittis
William Byrd: O Lord, make thy servant Elizabeth the Queen
O Lord, make thy servant Elizabeth the Queen
21st June 2012
***
“It's a fascinating piece of musical conjecture, even if the textures sometimes seem a little too overripe.”
September 2012
“One of the selling points is the use of cornetts and sackbuts to double the voices in the 'full' sections...In fact the presence of the instruments means that there is a sameness about the sound: splendid in its way, but undifferentiated...The other selling point is the use of Elizabethan pronunciation. An interesting experiement on both counts.”
September 2012
***
“This is a Great Service of great innovation, but one which lacks the vocal and technical consistency of established Byrd interpretations.”
The Independent on Sunday
2nd September 2012
“Ravens creates an imagined reconstruction of its performance [at the Chapel Royal]. The result has an almost Iberian flavour but the sense of ceremony, decoration and wealth is powerfully conveyed.”
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