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BYRD, William - Composers

   Found CDs: 45
 

Composer: BYRD, William ((1543-1623))
BYRD, William His/her life:
Some sources claim Byrd's birthyear to be 1543 rather than 1540 and the more likely birthplace for this composer was Lincolnshire, England, not London, England.

RUBIO - harpsichords - Johan Brouwer

RUBIO - harpsichords - Johan Brouwer
ID: ACDHN018-2
CDs: 1
Type: SACD
Collection: Baroque

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
David Rubio. Since the mid-1960s the name of David Rubio has been famous in the musical world as a maker of stringed instruments: guitars, lutes, harpsichords, violins, violas and cellos. Two string quartets play his instruments exclusively, and one is named the Rubio Quartet in his honour.
15.00 eur Buy

Ave Verum - Popular Choral Classics

Ave Verum - Popular Choral Classics
ID: BRIL6323
CDs: 1
Type: DVD5
Collection: Choral Collection
Subcollection: Choir

1 DVD 16:9
Total time: 01:25:23
Region: (All) PAL, 2.35:1 ALL FORMATS
Sound Tracks: Dolby Digital 5.1, Dolby Digital Stereo 5.1
12.00 eur Buy

Lamentations: Timothy Brown - The Choir of Clare College, Cambridge

Lamentations: Timothy Brown - The Choir of Clare College, Cambridge
ID: BRIL92098
CDs: 1
Type: DVD5
Collection: Choral Collection
Subcollection: Choir

1 DVD 16:9
Region: (All) PAL, 2.35:1 ALL FORMATS
Sound Tracks: Dolby Digital 5.1, Dolby Digital Stereo 5.1
12.00 eur Buy

Ready Steady Blow! - Music for beginner oboists

Ready Steady Blow! - Music for beginner oboists
ID: CC2010
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Oboe

This CD is recorded by the Graduate Students of Trinity College of Music in London, who took their post-Graduate Diploma in performing in June 2004

In the CD booklet the oboists talk about how they got started on the oboe. It has 16 pages in full colour (English only), with more photos and information, and how to obtain the music.

The main purpose of this CD is to show that there is a wealth of good music, in many styles, available to the oboe beginner. These pieces are within the general Grade 3 level, and some of them can be played after just a few lessons, so that learning the oboe can be a musical experience right from the beginning. The tracks are marked 0 to 3, to indicate their general technical level, where 0 indicates a pre-Grade 1 piece.
There are two exceptions to the Grade 3 limit - Mozart's La ci Darem (Grade 4), because it points the way to a new world of musical expression, and Hedwig's Theme from Harry Potter, because, as one teacher put it, it is by far the nicest way to learn the bottom two notes on the oboe.
The selection was made in consultation with a number of teachers. I asked them which pieces their pupils responded to with enthusiasm. I soon noticed the same pieces being mentioned time and again. Some pieces were liked by some teachers and not by others, and I added in my own preferences, and take full responsibility for the final choice.
It was also necessary to stick to a smallish number of books or tutors, so that the pupil is not faced with a large music bill. Where only one piece has been included from a particular collection, it always means that there are other equally good pieces in that book. Exclusion of a book of pieces does not mean it is not good. Attention was also paid to the various exam syllabuses for Grades 1 to 3; some of these pieces appear there, some do not.
16.00 eur Buy

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord
ID: CC2014
CDs: 2
Type: CD
Subcollection: Bassoon

The 24-page CD booklet has a 6,000 word programme note in English containing the interview below, plus a detailed track-by-track description, including interviews with Gordon Langford about his arrangements and David Matthews about Toccatas and Pastorals. There are many photographs.

Jeremy Polmear talks to Catherine Smith about The Sheba Sound:

The Sheba Sound was founded in 1975 by Catherine Smith, and ran for an impressive 22 years. I asked her how it came about. "I was a freelance oboist working in London, and, to be honest, I felt that life was getting a bit repetitive. I needed a challenge, I needed to break out of the orchestral rut. I love making experiments, and exploring new areas of life.

"My starting point for the new group was two oboes, bassoon and harpsichord to play trio sonatas. I approached the oboist Deirdre Lind and the bassoonist Deirdre Dundas-Grant because they had both played in the BBC Concert Orchestra, and therefore had experience in playing all kinds of music. Neil Black [a prominent London oboist] suggested I contact the harpsichordist Harold Lester, who not only played early music with Alfred Deller, but contemporary music with Cathy Berberian and the London Sinfonietta. Our horizons were limitless. The name of the group reflects this - 'Sheba', in reference to the best-known baroque piece for two oboes, 'The Arrival of the Queen of Sheba' by Handel, - and 'Sound', being the kind of name you wouldn't use in strictly classical circles. All future members of the group shared this eclectic experience of musical styles. I am particularly grateful to the first members, who made financial sacrifices until we had established ourselves.

"As I wanted the group to be unique in every respect, I decided that we would play, if possible, unpublished Baroque music, so I spent hours and hours in libraries looking for interesting scores. Harold Lester brought his extensive knowledge of early harpsichord music, and arranged some of it; and I also wanted a more jazzy arranger. Brian Kay of the King's Singers suggested Gordon Langford, who had written beautifully for them; he wrote a Folk Song Suite for us [Kaleidoscope CD, tracks 15 -19], the first of many arrangements. Our subsequent commissions were not only contemporary serious music, but also jazz and rock.

"I decided that our presentation was very important. Our dresses were glamourous, shot silk, in bright reds, and the men had cummerbunds to match. Each work was introduced by a member of the group, which was unusual at that time. We commissioned special music stands from the furniture department of the Royal College of Art, and draped the funiture on the platform in red velvet.

"We played all over the UK, in concert halls, at music clubs and festivals, and we did regular London concerts at the Wigmore Hall. One was recorded, and is the source of several tracks on these CDs. We often worked with well-known actors such as Gabriel Woolf [The Bassoon Song, Kaleidoscope CD, track 7], Derek Jacobi, Nicolas Parsons and Spike Milligan, on whose TV programmes we appeared. We did lots of Children's Concerts too, at which the greatest success was a special story, 'The Key to the Zoo', written by humourist Miles Kington, with music by Stephen Oliver. In the story we each became an animal character, with an appropriate hat.

"We toured abroad too, especially in Germany, Italy and Arabia. In Italy they preferred to have a singer with the group, and we took people such as the contralto Margaret Cable and the tenor Christopher Underwood. We also played in Holland, and on TV in Flanders. We broadcast in the UK too - on the BBC music channel Radio 3, but I was also on the talk channel Radio 4, on 'Woman's Hour'. At the time I had three children under eight as well as my career - quite a new thing back in 1975 - and this created quite a lot of interest among the listeners, who then wanted to know what our music sounded like. This led to the BBC financing a recording, many of whose tracks appear here."
25.00 eur Buy

PLUM PUDDING - Felicity Lott, Gabriel Woolf, Joyful Company of Singers & Peter Broadbent

PLUM PUDDING - Felicity Lott, Gabriel Woolf, Joyful Company of Singers & Peter Broadbent
ID: CHRCD013
CDs: 1
Type: CD
Collection: Choral Collection
Subcollection: Christmas Music

Dame Felicity Lott and the Joyful Company of Singers serve up rich Christmas fayre with 'Plum Pudding', well-spiced with favourite carols and readings by actor Gabriel Woolf.

PLUM PUDDING
‘A rich boiled suet pudding with raisins, currants, spices, etc.' (OED).

You'll find no ‘boiled suet' in our offering, but rich and well-spiced fare abounds - and unlike its namesake our pudding is bursting with plums! First, though, a warming drink as we Wassail with the merry folk of medieval Yorkshire: ‘…all over the town… in the wassail bowl we'll drink unto thee'. Vaughan Williams, renewing his quest for traditional airs after the horrors of war service, made his exultant arrangement in 1919. Almost a century earlier, in his beloved Northamptonshire village, John Clare was immortalising country life through the seasons; in December, when ‘GladChristmas comes…' he vividly evokes the simple pleasures of that ‘day of happy sound and mirth'. Close contemporaries, Victoria (1548-1611) and Byrd (c. 1543-1623) both began their musical life as choristers, at Avila Cathedral in Spain and at London's Chapel Royal respectively. The former's magnificent motet O magnum mysterium, its arching phrases intertwining like a great cathedral's vaulting, was written in Rome in 1572. Byrd's equally intricate but more worldly This Day Christ Was Born - subtitled ‘A Carroll for Christmas Day' - appeared in his last published songbook in 1611. Moving back to medieval times, to the Wakefield Mystery Plays, we hear God - portrayed by a worthy merchant in his guild's ‘pageant' - reflecting on his treatment of Adam, and summoning Gabriel to tell Mary that she will bear his Son.

Only the ‘Pageant of Shearmen and Tailors' survives from Coventry's contemporary play-cycle, and it is this which furnishes the text of the “Coventry Carol”, Lully, lullay - sung here in Kenneth Leighton's glorious 1956 setting for ethereally serene soprano and choir. By way of contrast Rhian Samuel (b. 1944 and, like Leighton, a distinguished teacher as well as composer) brings Jolly Wat the Shepherd to vivid life in her strikingly harmonised ballad.

After such exuberance, it is time for calmer contemplation. The 15th-century poem I sing of a Maiden, with its gentle portrayal of the sleeping Maid, and haunting refrain ‘He cam also style … as dewe in Aprylle …' is perfectly complemented by the lovely Mariä Wiegenlied; in Peter Broadbent's arrangement of Reger's 1912 ‘slumber-song' a pair of sopranos duet ecstatically above a soft choral accompaniment. Felicity Lott returns to tell the story of The Three Kings ‘from Persian Lands afar'; Elgar's organist friend Ivor Atkins (1869-1953) wrote the familiar arrangement of this Weihnachtslied (Christmas song) originally written in 1856 by Liszt's pupil Peter Cornelius. A darker view of The Journey of the Magi informs T.S. Elliot's 1927 poem, in which one of those kings, years afterwards, recalls the bitter cold and hardship of their journey and, for all its ‘satisfactory' end, reflects equivocally on the changes wrought by that Birth.

There is bleakness, too, rather than the rustic revelry which Laurie “Cider with Rosie” Lee's name might lead one to expect, in his 1954 poem Twelfth Night, adroitly set to music by the American composer Samuel Barber in 1968. This austere meditation on the earth's ‘utter death', more animated at ‘his birth our Saviour', returns at the close to a restatement - albeit more hushed - of its opening line: ‘No night could be darker than this night'. Lee's memories of Christmas in Seville, on the other hand - he had a lifelong love affair with Spain - bring welcome respite. The children who sang him carols, ‘their faces set in a kind of soft unconscious rapture', moved him deeply - understandably so, if they even approached the purity of tone and radiant sense of innocence which the Joyful Company of Singers conjure up in Guerrero's heart-easing Virgen Sancta, written in 1589. How those same children might have revelled in Andrew Carter's arrangement of the Spanish Esta Noche (‘This Night'), with its guitar effects and infectious high spirits.

How many poets have made such music from words alone as Dylan Thomas? He wrote (and read) his original Memories of Christmas for BBC Radio in 1945. Two years later, for the magazine Picture Post, he added a postscript to it, the Conversation About Christmas; Gabriel Woolf's reading captures all the sly wit embodied in its dazzling wordplay. One of the best-loved English carols, The Holly and the Ivy, introduces the topic of traditional Christmas Decorations, a theme taken up by the journalist, novelist and Punch contributor E.V. Lucas (1868-1938). A sequence of letters between a rector and his parishioners - aptly interspersed between lines from the rousing old Welsh song Deck the Hall - reveals how the best-laid plans can go increasingly awry. No festive celebration of this kind would be complete without The Twelve Days of Christmas - and we are treated to two variations on the theme: John Julius Norwich's hilarious warning against taking the old song's message too literally is aptly counterpointed by Andrew Carter's roistering choral arrangement. Another swift change of mood ensues. In Christmas Truce Captain R.J. Armes, writing home from the muddy hell of the First World War's trenches, touchingly describes an utterly unexpected experience. Then, across the desolate no man's land, steal the strains of the Stille Nacht. On Christmas Eve in 1818, in the Austrian village of Oberndorf, disaster struck when the church organ broke down. The organist, Franz Xaver Gruber, gratefully accepted some verses written two years earlier by the parish priest, Josef Mohr, and hastily set them to music; the choir sang the piece that night, to the accompaniment of a guitar - and the rest, as they say, is history. In another remembrance of Christmases past, Leonard Clark tells how he had almost forgotten the Singing in the Streets, before Gruber's immortal melody returns, this time in English. Joyful indeed are Felicity Lott and the Company of Singers as Silent Night, in Peter Broadbent's richly-harmonised arrangement, brings our festive feast to a contented close.
13.00 eur Buy

William Byrd - Harpsichord Works - Ursula Duetschler

William Byrd - Harpsichord Works - Ursula Duetschler
ID: CLAVES509001
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Harpsichord

W. Byrd:
Fantasia, C No. 2
Fantasia in G No, 2
The Carman's Whistle
Pavan and Galliard, F No. 2 'Ph. Tregian'
Pavan and Galliard, G minor No. 3, BK4
The wood so wild
The Queen's Alman
The Bells
Walsingham
All in a Garden Green
Volte, G No. 1, BK91
Ut re mi fa sol la
16.00 eur Temporarily out of stock

The Flowering of Genius - Guerrero, Tallis, Byrd, Victoria

The Flowering of Genius - Guerrero, Tallis, Byrd, Victoria
ID: COR16001
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

13.00 eur Buy

Spem in alium Thomas Tallis - Music for Monarchs and Magnates

Spem in alium Thomas Tallis - Music for Monarchs and Magnates
ID: COR16016
CDs: 1
Type: SACD
Collection: Choral Collection
Subcollection: Choir

Recorded in Surround Sound
13.00 eur Buy

Spem in alium - Thomas Tallis - Music for Monarchs and Magnates

Spem in alium - Thomas Tallis - Music for Monarchs and Magnates
ID: COR16016
CDs: 1
Type: DVD
Collection: Choral Collection
Subcollection: Choir

15.00 eur Buy

 
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