Byrd: Quomodo cantabimus

William Byrd, favourite of Queen Elizabeth I, was a confirmed and practising Catholic who worshipped in defiance of the Queen. His status and perhaps even his life was preserved thanks partly to the undeniable mastery of his music, and to the fact that he was careful to maintain an output of music appropriate for a Protestant Rite (simple and English) as well as a Catholic one (florid and Latin).

Byrd was by no means the only major Catholic composer working in England during these years. Furthermore, there were English composers whose faith drove them to work abroad, as well as foreign composers who offered sympathy and encouragement to English Catholics. Included in this latter category was the Flemish composer Phillipe De Monte who entered into a fascinating compositional correspondence with Byrd. Verses of Psalm 136 ‘Super Flumina Babylonis’ (containing many allegorical references to the plight of catholics unable to practice their faith openly) were set to music and exchanged, in what is now seen as an encoded message of mutual support and friendship between brothers in faith.

The texts reveal the Catholic community’s sense of isolation: “How shall we sing the Lord’s song in a strange land?”, Quomodo Cantabimus; and bereavement: “Jerusalem is wasted”, Ne Irascaris, and the elaborate, poetic nature of the encoded messages distributed within it through music.

The early-music consort Gallicantus (led by former King's Singer Gabriel Crouch) is drawn from the ranks of recent BBC Music Magazine award-winning choir Tenebrae.

Magnificat delivers once again; ‘Where late the sweet birds sang’ is a gorgeous contrapuntal choral collection of works by three of the leading Elizabethan composers, featuring some of the repertoire’s best singers.

Since the time of Byrd Westminster and Winchester Cathedrals have been renowned as two of England’s finest choral cathedrals.

The choristers on this recording, from Westminster and Winchester, maintain that lineage, their voices blending seamlessly and naturally.

The recording was made in St. George’s church in Chesterton, Cambridge which is of a similar scale to Waltham Abbey where Byrd was composing.

Byrd is increasingly recognised as a composer of great importance and ‘Where late the sweet birds sang’ will show that White and Parsons are equally exciting and deserving of renewed attention.

Magnificat are one of the world’s premier vocal ensembles whose recordings have met with huge critical acclaim: Thomas Tallis’ Spem in alium was hailed as ‘quite the best recording’ by Gramophone Magazine and was First Choice in Building A Library on BBC Radio 3's CD Review. In addition their recording of Victoria’s Officium Defunctorum was named Critics’ Choice by Gramophone Magazine and chosen by The Rough Guide as one of its 100 Essential Classical CDs.

Directed by Philip Cave, Magnificat specialises in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries.

In association with Linn Records, Magnificat has undertaken many highly successful recording projects of music from ‘The Golden Age’, including works by Gesualdo, Guerrero, Josquin, Rebelo, Victoria, Allegri, Tallis, Rogier and Palestrina.