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See Terms & Conditions for p&p rates. | |  | Robert Parsons: Sacred Music
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 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Parsons - First Great Service & Responds for the Dead
Voces Cantabiles, Barnaby Smith This recording aims to provide Robert Parsons, who died tragically in his forties, with a memorial service he never received and aid his return to a place alongside the greatest English Renaissance composers. · Movements from the First Great Service, scored for two antiphonal choirs, provide the core of this ‘remembrance service’ for Robert Parsons. In scale and polyphonic grandeur the work maintains the old Catholic tradition, while making use of the new Protestant liturgy with its revolutionary setting of the 1549 English texts. Interspersed between movements of the First Great Service are a number of pieces taken from the Responds for the Dead, set to Latin texts. The Magnificat, which opens this recording, is the largest-scale single work that Parsons wrote. “A useful recital gives a broader view of the composer of the famous Ave Maria.” Gramophone Magazine, April 2008 “The music’s lines become majestically entangled; cadences process without any resolution; solemn musings suddenly switch to a dance or brawl: here is the 17th century’s avant-garde.” The Times | | | (also available to download from $5.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | The Gents - 16th century English choral music
Bennet: | Eliza, her name gives honour | Byrd: | Ave verum Corpus My Ladye Nevells Booke: A Fancie in C major | Cornyshe: | Ave Maria, Mater Dei | Ferrabosco, A I: | Incipit Lamentatio Jeremiae Prophetae I ("... Aleph: Quodmodo sedet sola") Incipit Lamentatio Jeremiae Prophetae II ("... Zain: Vocavi amicos meos") | Ferrabosco, A II: | In depth no man remembreth Thee, for 5 voices | Holborne: | Paradizo The Sighes The Honie-suckle | Johnson, E: | Eliza is the fairest Queen | Parsons, R: | Ave Maria for 5 voices Credo quod Redemptor | Tallis: | Salvator mundi, salva nos 1 - antiphonn for five voices Miserere nostri, motet for 7 voices, P. 207 | Tomkins: | Remember me, O Lord (Psalm 106:4), anthem | Weelkes: | Lord, to Thee I make my moan, anthem for 5 voices Deliver us, O Lord, for 5(?) voices (doubtful) | White, Robert: | Christe qui lux es et dies |
The Gentlemen of the Chapel Royal, Diapente Viol Consort, Peter Dijkstra | | | Usually despatched in 4 - 5 working days. |
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| |  | The GentsThe Gentlemen of the Chapel Royal Vocal Ensemble
Bennet: | Eliza, her name gives honour | Byrd: | Ave verum corpus My Lady Nevell's Ground for keyboard, MB 57 Siebe Henstra | Cornysh the elder: | Ave Maria Mater Dei | Ferrabosco, A I: | Incipit Lamentatio Jeremiae Prophetae I ("... Aleph: Quodmodo sedet sola") Incipit Lamentatio Jeremiae Prophetae II ("... Zain: Vocavi amicos meos") | Ferrabosco, A II: | In depth no man remembreth Thee, for 5 voices | Holborne: | Paradizo (pavan), The Sighes, The Honie-Suckle, almain Diapente Viol Consort | Johnson, E: | Eliza is the fairest Queen Niec van der Meulen, Robert Kuizenga | Parsons, R: | Ave Maria for 5 voices Credo quod Redemptor | Tallis: | Salvator mundi, salva nos 1 - antiphonn for five voices Miserere nostri, motet for 7 voices, P. 207 | Tomkins: | Remember me, O Lord (Psalm 106:4), anthem | Weelkes: | Lord, to Thee I make my moan, anthem for 5 voices Deliver us, O Lord, for 5(?) voices (doubtful) | White, Robert: | Christe qui lux es et dies, setting for viol ensemble Diapente Viol Consort Christe qui lux es et dies |
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