Composer: William Byrd
Performer: Davitt Moroney
Number of Discs: 7
Format: FLAC (tracks)
Label: Hyperion
Catalogue: CDS444617
Release: 2010
Size: 2.88 GB
Recovery: +3%
Scan: yes
CD 01
01. Lord Willobies Welcome Home “Rowland”, BK 7
02. The Bells, BK 38
03. The French Coranto, BK 21a
04. The Second French Coranto, BK 21b
05. The Third French Coranto, BK 21c
06. Hugh Ashton’s Grownde, BK 20
07. Callino Casturame, BK 35
08. A Lesson of Voluntarie, Two Parts in One in the 4th Above, BK 26
09. The Carman’s Whistle, BK 36
10. Sellinger’s Rownde, BK 84
11. Parson’s In Nomine, BK 51
12. The Second Ground, BK 42
13. A Horne Pipe, BK 39
14. Miserere I, BK 66 (Performed on Clavichord)
15. Miserere II, BK 67 (Performed on Clavichord)
CD 02
01. Pavan and Galliard “Johnson’s Delighte”, BK 5: I. Pavin
02. Pavan and Galliard “Johnson’s Delighte”, BK 5: II. The Galliard
03. Preludium, BK 24
04. Galiardo Mistris Marye Brownlo, BK 34
05. Parludam, BK115
06. Pavan and Galliard “Ph. Tr.”, BK 60: I. Pavana
07. Pavan and Galliard “Ph. Tr.”, BK 60: II. Galiarda
08. Alman, BK 11
09. A Pavin and Galliard, BK 33: I. Pavin
10. A Pavin and Galliard, BK 33: II. Galliard
11. Have with Yow to Walsingame, BK 8
12. Pavana Lachrymae, BK 54
13. Harding’s Galliard, BK 55
14. The Barley Break, BK92
15. Pavan and Galliard “The Earle of Salisbury”, BK 15: I. Pavana
16. Pavan and Galliard “The Earle of Salisbury”, BK 15: II. Galiardo
17. Pavan and Galliard “The Earle of Salisbury”, BK 15: III. Galiardo Secondo
18. Pavan and Galliard “Eccho”, BK 114: I. Paven
19. Pavan and Galliard “Eccho”, BK 114: II. The Galliard
20. Wilson’s Wilde, BK 37
21. A Gigg ‘F. Tr.’, BK 22
22. A Preludium, BK 116
23. Jhon Come Kisse Me Now, BK 81
CD 03
01. Christe, qui lux es et dies, BK 121
02. Praeludium to the Fancie, BK 12 (Performed on Organ)
03. A Voluntarie, BK 27
04. Ut, re, mi, fa, sol, la, BK 64
05. Ut, mi, re, BK 65
06. Gloria tibi Trinitas, BK 50
07. Miserere I, BK 66 (Performed on Organ)
08. Miserere II, BK 67 (Performed on Organ)
09. A Verse of Two Parts, BK 28
10. A Grounde, BK 43
11. A Fancie, BK 46 (Performed on Organ)
12. A Fancie, for My Ladye Nevell, BK 25 (Performed on Organ)
13. A Grounde, BK 9 (Performed on Organ)
14. Clarifica Me, Pater I, BK 47
15. Clarifica Me, Pater II, BK 48
16. Clarifica Me, Pater III, BK 49
17. Fantasia, BK 62 (Performed on Organ)
18. Salvator mundi I, BK 68
19. Salvator mundi II, BK 69
20. A Voluntarie, for My Ladye Nevell, BK 61 (Performed on Organ)
CD 04
01. Will Yow Walke the Woods So Wylde, BK 85
02. Ut, Re, Mee, Fa, Sol, La, The Playnesong … By a Second Person, BK 58
03. Go from My Window, BK 79
04. Fantasia, BK 62 (Performed on Harpsichord)
05. Fortune My Foe, Farewell Delight, BK 6
06. Fantasia, BK 63
07. Corranto, BK 45
08. The Mayden’s Songe, BK 82
09. A Grounde, BK 86
10. A Fancie, BK 46 (Performed on Harpsichord)
11. O quam gloriosum est regnum, EKM 48
12. The Hunt’s Up, BK 40
CD 05
01. O Mistris Myne, I Must, BK 83
02. La Volta, BK 91
03. Pavan and Galliard “Quadran”, BK 70: I. Paven
04. Pavan and Galliard “Quadran”, BK 70: II. Galliard
05. A Grounde, BK 9 (Performed on Harpsichord)
06. If My Complaints, or Pyper’s Galliard, BK 118
07. The Queenes Alman, BK 10
08. A Pavion and The Galliard, BK 23: I. A Pavion
09. A Pavion and The Galliard, BK 23: II. The Galliard
10. Pavan and Galliard “Bray”, BK 59: I. Pavana
11. Pavan and Galliard “Bray”, BK 59: II. Galiarda
12. La Volta L. Morley, BK 90
13. Pavana and Galiarda, BK 4: I. Pavana
14. Pavana and Galiarda, BK 4: II. Galiarda
15. Gypseis Round, BK 80
16. Pavana and Galliarda, BK 52: I. Pavana
17. Pavana and Galliarda, BK 52: II. Galliarda
18. Galliard, BK 53
19. An Almane, BK 89
20. Pavin, BK 76
21. A Galliard, BK 77
22. An Alman, BK 117
23. A Galliarde Gygge, BK 18
24. Paven and Galiard, BK 73: I. Paven
25. Paven and Galiard, BK 73: II. Galiard
CD 06
01. Qui passe, for My Ladye Nevell, BK 19
02. A Fancie, for My Ladye Nevell, BK 25 (Performed on Harpsichord)
03. The Firste Pavian and Galliarde, BK 29: I. Pavian
04. The Firste Pavian and Galliarde, BK 29: II. Galliarde
05. The Second Pavian and Galliarde, BK 71: I. Pavian
06. The Second Pavian and Galliarde, BK 71: II. Galliarde
07. The Third Pavian and Galliard, BK 14: I. Pavian
08. The Third Pavian and Galliard, BK 14: II. Galliard
09. The Fourth Pavian and Galliarde, BK 30: I. Pavian
10. The Fourth Pavian and Galliarde, BK 30: II. Galliarde
11. The Fifte Pavian and Galliarde, BK 31: I. Pavian
12. The Fifte Pavian and Galliarde, BK 31: II. Galliarde
13. Pavana and Galliarde the VI “Kinbrugh Good”, BK 32: I. Pavana
14. Pavana and Galliarde the VI “Kinbrugh Good”, BK 32: II. Galliarde
15. The Seventh Pavian, Canon 2 Parts in 1, BK 74
16. The Eighte Pavian, BK 17
17. The Nynth Pavian and Galliarde, the Passinge Mesures, BK 2: I. Pavian
18. The Nynth Pavian and Galliarde, the Passinge Mesures, BK 2: II. Galliarde
19. My Lady Nevell’s Grownde, BK 57
20. A Voluntarie, for My Ladye Nevell, BK 61 (Performed on Harpsichord)
CD 07
01. Preludium, BK 1
02. Pavan and Galliard “Sir William Petre”, BK 3: I. Pavana
03. Pavan and Galliard “Sir William Petre”, BK 3: II. Galiardo
04. The Marche Before the Battell, BK 93
05. The Battell, BK 94
06. The Galliard for the Victorie, BK 95
07. All in a Garden Greene, BK 56
08. Monsieur’s Alman I, BK 87
09. Monsieur’s Alman II, BK 88
10. The Ghost, BK 78
11. Monsieur’s Alman III, BK 44
12. A Pavyn and Galliard, BK 16: I. Pavyn
13. A Pavyn and Galliard, BK 16: II. Galliard
14. Paven and Galiard, BK 100: I. Paven
15. Paven and Galiard, BK 100: II. Galiard
16. Lady Montegle’s Paven, BK 75
17. A Pavion and The Galliard to It, BK 72: I. Pavion
18. A Pavion and The Galliard to It, BK 72: II. The Galliard to It
19. Praeludium to the Fancie, BK 12 (Performed on Muselar)
20. Praeludium to the Fancie, BK 12 (Performed on Hubert Bédard Harpsichord)
21. Praeludium to the Fancie, BK 12 (Performed on Clavichord)
22. Praeludium to the Fancie, BK 12 (Performed on Reinhard von Nagel Harpsichord)
23. Fantasia, BK 13
The Gramophone Award-winning artist, Davitt Moroney has spent more than fifteen years planning this momentous project and Hyperion are proud to be able to bring Davitt’s wealth of expertise and musicianship to the label.
As an authentic complete survey of this music, six different instruments have been used for the recording – two different harpsichords, muselar virginal, clavichord, chamber organ, and the Ahrend organ at L’Église-Musée des Augustins, Toulouse, France (where the huge and high nave creates an echo that lasts for nearly fifteen seconds, not unlike the acoustic at Lincoln Cathedral where Byrd was the organist and master of the choristers).
According to ancient legend, the phoenix (an image Byrd used in his first publication in 1575) is reborn from the centre of a blazing fire every five hundred years. Byrd, indeed, had to wait nearly as long before modern editions, concerts and recordings have been able to bring his music back to life. Davitt Moroney is the perfect musician for the job.
‘Surely definitive and a triumph for all concerned … the quality of the interpretation flows flawlessly throughout the series … probably the most significant issue I have yet reviewed. There are so many glorious details in his playing that it is hard to know where to begin in its praise’ (Gramophone)
‘In his 100-page essay on William Byrd, Moroney argues forcefully that the 56 pavans and galliards deserve to be ranked with the 48 preludes and fugues of Bach and the 32 sonatas of Beethoven. And on the strength of his superb playing of a rich array of contrasting instruments, the case for Byrd as one of the great keyboard composers is more than justified: the extraordinary spectrum of influences from which the Elizabethan composer took his inspiration suggests a genius as versatile as the great baroque and classical masters. This marvellous set—recorded painstakingly over six years and only now released as an integral edition—provides invaluable insight into this relatively neglected aspect of Byrd’s prolific output. Moroney is as convincing on the organ—using 17th-century instruments or copies, but without the pedals that Byrd would not have known—as he is on the harpsichord, clavicord and virginals. A monument in the history of early-music recording’ (The Sunday Times)
‘If you have any interest at all in Byrd, keyboard music, English culture, or, indeed, music of any sort, buy this set’ (Early Music Review)
‘A triumph. Surely the definitive account for the foreseeable future’ (BBC Music Magazine)