Byrd: Ave verum Corpus

Daniel Taylor is one of the world’s most sought after countertenors in the world and appears on over 100 recordings. Having made his debut at Glyndebourne, he followed it by participating in Jonathan Miller’s production of Handel’s Rodelinda.

In this latest release from Canadian label Analekta, Daniel performs a disc of ‘Ave Maria’s’ written by Caccini, Schubert, Byrd, von Bingen, Monteverdi and others, so provides a definitive disc of this repertoire performed by a world class singer.

This recording is compiled from Armonico Consort's 'Naked Byrd' programme, featuring music by composers who wore their hearts on their sleeves and whose art saw their emotions laid bare, in an atmospheric concert where magical musical moments are intertwined with sublime passages of plainchant and violin improvisation.

The Armonico Consort is, at its heart, a highly talented vocal ensemble that stages a wide variety of concerts.The quality of the performances they stage is reflected in the praise they have recently received:

"Superb!" The Times

"A Beautiful Sound" BBC Radio 3

"Quite Stunning" Classic FM

"With the perfectly formed consort, it was an evening to savour" Emma Kirkby

There is surely no more quintessentially English sound than that of the Choir of King’s College, Cambridge, its unaccompanied voices – evocative of immemorial sandstone, of cool cloisters, of evensong in church, chapel and cathedral – serene in the music of Shakespeare’s contemporaries Byrd and Gibbons, ethereal in Delius heard of a summer’s night across the Backs of the River Cam.

No less iconic is the chapel that lends its unique acoustic to that sound. One of the glories of the English perpendicular style of architecture, it was eventually completed in 1547, a little over a century after the founding of the college itself by Henry VI.

This collection opens and closes with coronation music: Zadok the Priest was written for the crowning of George II in 1727, I was glad for that of Edward VII in 1902. Both were so successful that they have been sung at every coronation since their premières. Parry’s ‘processional anthem’ is heard here in its full panoply of extra brass and shouted Vivats, the choir of King’s choir providing the semi-chorus in the exquisite interlude ‘O pray for the peace of Jerusalem’.

In between are motets ancient and modern – from the miniature If ye love me and the architectural splendour of the 40-part Spem in alium to William Harris’s dramatic double-choir Spenser setting Faire is the Heaven; well-known psalms sung to Anglican chant; and favourite hymns, notably All people that on earth do dwell, arranged ceremonially for another coronation, that of Elizabeth II.

As well as national rejoicing there is solemn remembrance. Come ye sons of art away is Purcell’s 1694 birthday ode for Queen Mary, Thou knowest, Lord part of the music he wrote for her funeral just nine months later. John Ireland’s Greater love hath no man is often heard on Remembrance Sunday; Sir John Tavener’s Song for Athene made a powerful impression at the funeral of Diana, Princess of Wales; while John Rutter’s small-scale, personal Requiem touched a wider public following the attacks of 11 September 2001. But ‘Nimrod’ above all epitomises music of national remembrance. Here a choral setting of it, Lux aeterna, represents our ‘Shakespeare of music’, Edward Elgar.

“England has never produced a greater composer than William Byrd. His music for the Anglican Church has been sung without interruption since the 16th century. In stark contrast his Catholic music was not heard for over 300 years. This selection compares the formal public style of Byrd’s Anglican works like The Great Service with the plangent intimacy of his Masses and motets.” Peter Phillips

William Byrd, together with Thomas Tallis as the joint holders of the Royal monopoly for printing music, was given free rein to compose sacred music for the Roman liturgy despite Elizabeth I being in principle opposed to such practice. The resulting works are masterpieces of the age, and the Mass for five voices, with its unashamedly Catholic presentation of the words, is the last and most beautiful of the three settings he made of this text.

The Mass is here presented in a ‘liturgical’ setting with the Propers for the Feast of Corpus Christi. Also included are six further works with connections to this period of the church’s year.

Soothing English sacred choral music from the Tudor and Stuart periods, by some of England’s finest composers. Perfect music to calm the soul, performed by the outstanding Richmond Consort. The consort is made up of singers who regularly perform in the UK’s most prestigious cathedrals and colleges. They specialise in early music both sacred and secular and perform regularly throughout the UK and the rest of Europe.