Byrd; Tallis Cantiones Sacrae
Thoroughly reliable and musical performances of a major motet volume
View record and artist detailsRecord and Artist Details
Composer or Director: Thomas Tallis, William Byrd
Genre:
Vocal
Label: Obsidian Records
Magazine Review Date: 3/2011
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: CD706
Tracks:
Composition | Artist Credit |
---|---|
Salvator mundi, salva nos I |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Absterge Domine |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
In manus tuas |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Emendemus in melius |
William Byrd, Composer
Alamire William Byrd, Composer |
Libera me, Domine, et pone me |
William Byrd, Composer
Alamire William Byrd, Composer |
Peccantem me quotidie |
William Byrd, Composer
Alamire William Byrd, Composer |
Mihi autem nimis |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
O nata lux de lumine |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
O sacrum convivium |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Aspice Domine, quia facta est (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Attollite portas (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: O lux, beata Trinitas (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Derelinquat impius |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Dum transisset Sabbatum |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Honor virtus et potestas |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Sermone blando angelus |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Laudate pueri Dominum (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Momento homo (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Siderum rector (5vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Te lucis ante terminum I |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Te lucis ante terminum II |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Salvator mundi, salva nos II |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Candidi facti sunt Nazarei |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Da mihi auxilium (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Domine secundum actum meum (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Diliges Domine (8vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
In jejunio et fletu |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Suscipe quaeso Dominus |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Miserere mihi Domine (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Tribue, Domine (6vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Cantiones, quae ab argumento sacrae vocantur, Movement: Libera me, Domine (5vv) |
William Byrd, Composer
Alamire William Byrd, Composer |
Miserere nostri |
Thomas Tallis, Composer
Alamire Thomas Tallis, Composer |
Author: David Fallows
In the booklet David Skinner devotes some space to the problem of pitch-levels – a matter that is particularly troublesome in this collection of mostly new motets by Byrd and mostly earlier music by Tallis, all assembled in something of a hurry. But Skinner actually ducks the problem by having a team of 12 singers from whom he can choose those most appropriate to any particular piece. Even so, occasionally the result sounds at a pitch that makes texture a touch muddy.
They use solo voices throughout, mixed voices with a fairly open sound that brings with it more vibrato than we are used to hearing in such music nowadays. The requirements of the intégrale also mean that there is less of a tendency to linger over the many juicy dissonances in this music. That results in performances that are refreshingly free of self-indulgence. Some of the big Byrd pieces in particular are very good indeed.
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