BYRD One Byrde in Hande
View record and artist detailsRecord and Artist Details
Composer or Director: William Byrd
Genre:
Instrumental
Label: Linn
Magazine Review Date: 08/2018
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: CKD518
Tracks:
Composition | Artist Credit |
---|---|
Prelude |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Fantasia |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Ground |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Pavan and Gaillard |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Ut , re, mi, fa, sol, la |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Ut, mi, re |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Lachrymae Pavan |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
The Bells |
William Byrd, Composer
Richard Egarr, Harpsichord William Byrd, Composer |
Author: Lindsay Kemp
At first glance, the selection looks challengingly serious, consisting mainly of fantasias and grounds, with none of the variations on popular songs that make up Byrd’s more immediately appealing side. Yet Egarr has no problem keeping our attention. The sheer sound of his playing is one thing, produced on a crisp, punchy but resonant Ruckers copy, beautifully recorded by Philip Hobbs. Operating at A=393, it has a fruity bass; but Egarr also manages to make it sing sweetly in the middle and high registers thanks to a caressing legato and sure sense of when to leave certain notes held down. It may be relevant that he knew Byrd’s choral music before his keyboard music, because in lengthy fantasias that might seem rather earnest compositional exercises – how excited can you get by a title such as Ut, re, mi, fa, sol, la? – he is able not only to articulate Byrd’s astonishingly resourceful counterpoint but also, in music that could sound dogged, to strike a thoroughly convincing balance between the music’s formal structures, changing moods and metres, and moments of charming spontaneity or coursing brilliance. He ends with Byrd’s most extraordinary piece, The Bells, an improbable set of variations on a two-note ground which, with even more ‘pedal wash’ effects than usual, is here turned into an affectionate tone-picture. An outstanding celebration of Byrd as one of the first keyboard greats.
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