Byrd: Infelix ego

The Cardinall’s Musick’s award-winning Byrd series reaches its final volume, which includes some of the composer’s most sublime and adventurous music, drawn in the main from the 1591 Cantiones Sacrae collection. Throughout this series it has become evident that a comprehensive survey such as this shows the genius of the composer in a uniquely effective way: by demonstrating the extraordinary variety and unsurpassable quality of his musical and liturgical achievements.

Andrew Carwood defines Byrd as the greatest composer of the age in his booklet note—as he writes: ‘If there is an English musician who comes close to Shakespeare in his consummate artistry, his control over so many genres and his ability to speak with emotional directness it must be William Byrd.’

The ‘title track’ of this volume, Infelix ego, is the crowning glory of Byrd’s achievement as a composer of spiritual words and one of the greatest artistic statements of the sixteenth century. This remarkable text, taking the form of a number of rhetorical statements and questions, shows the whole gamut of emotion from a soul in torment—guilt, fear, embarrassment, anger, but crucially the gift of release when Christ’s mercy is accepted. It can be seen as a microcosm of Byrd’s sacred music and a fitting crown to this series.

At the heart of the religious disputes which ravaged 16th century England, Tallis and Byrd embody two opposing tendencies: the former's austere, homophonic Protestant psalm tunes, in which the clarity of the biblical texts was paramount, contrast with the latter's Catholic motets, which constantly heighten musical expressivity and emotiveness.Yet, far from being stifled by the rigour of one camp or the traditionalism of the other, the creativity of these two masters of English music thrived on such constraints as they dedicated themselves to the service of their art and of God. New performing edition by Stile Antico.

Working without a conductor, the members of Stile Antico rehearse and perform as chamber musicians, each contributing artistically to the musical result.Their repertoire ranges from the glorious legacy of the English Tudor composers to the works of the Flemish and Spanish schools and the music of the early Baroque. They are passionate about the need to communicate with their audiences, combining thoughtful programming with direct, expressive performances.They are also committed to developing their educational work, for which they have received generous funding from the National Lottery through Arts Council England.

“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

Coupling powerful interpretations with path-breaking scholarship, the choir Contrapunctus presents music by the best-known composers as well as unfamiliar masterpieces. Directed by Owen Rees, a specialist in music of the 16th and 17 centuries, the group presents imaginative programmes revealing previously undiscovered musical treasures and throwing new light on familiar works.

This recording explores the musical 'cries of the oppressed' from opposite ends of Europe, which include some of the most powerful works composed in England and Portugal during this period by Byrd, Tallis, de Monte and Cardoso. The highlight perhaps is the first recording of a newly reconstructed vocal work by Thomas Tallis, 'Libera nos'. This has long been thought to be an instrumental work, and has been recorded as such, but there's persuasive historical evidence for us to be confident that this is in fact a choral setting of the antiphon 'Libera nos', and it is performed here with the relevant text restored to the five vocal parts.

To coincide with the tenth anniversary of the Choral Pilgrimage, Harry Christophers and The Sixteen return to the repertoire of Tudor England that made their first tour such a success.

Sixteenth-century England was a place of much religious change. It was a dangerous and confusing time as Henry VIII, who had split with Rome, was succeeded by his young son Edward VI, then by the ardent Catholic, Mary, and finally by the Protestant, Elizabeth I. Composers of the day, such as William Byrd, John Sheppard and Thomas Tallis, were required to adapt to rapidly changing musical requirements and it is testament to their incredible skill and musical mastery that they produced such magnificent works in such troubled times. At the heart of this programme are Sheppard’s monumental Media vita in morte sumus and Byrd’s deeply personal setting of Infelix ego. Set amongst these exceptional masterpieces are Byrd’s joyful motets Laudibus in sanctis and Haec dies, and one of the gems of this recording – Tallis’ Miserere nostri.

“Christopher’s choir, The Sixteen, is arguably the most visible professional choral ensemble in Britain” The Times (London)