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The Cardinall's Musick, Andrew Carwood - Thomas Tallis: Lamentations and Other Sacred Music (2016)

Posted By: Designol
The Cardinall's Musick, Andrew Carwood - Thomas Tallis: Lamentations and Other Sacred Music (2016)

Thomas Tallis: Lamentations and Other Sacred Music (2016)
The Cardinall's Musick, Andrew Carwood, director

EAC | FLAC | Image (Cue&Log) ~ 325 Mb | Mp3 (CBR320) ~ 171 Mb | Artwork included
Classical, Choral, Sacred | Label: Hyperion | # CDA68121 | Time: 01:13:09

Ten English composers set the Latin text of the Lamentations of Jeremiah in the mid-16th century, in the reigns both of the Catholic Queen Mary and the Protestant Elizabeth I. Precise details are hard to establish of when works were performed, as Andrew Carwood explains in an illuminating note to this disc, but there seems little doubt that Tallis, though a Catholic, wrote his masterpiece for Elizabeth. The repeated final lines, “Jerusalem, Jerusalem, turn to the Lord your God”, unforgettable once heard, have a dark resonance here, thanks to the sonorous basses of the Cardinall’s Musick (Robert Macdonald, Simon Whiteley). The rest of this fine recording draws on music from across Tallis’s career, with English and Latin settings (Sancte Deus, Te Deum, Come, Holy Ghost and more). The singers reach the highest standards.

Andrew Carwood, The Cardinall's Musick - William Byrd: The Great Service (2012)

Posted By: ArlegZ
Andrew Carwood, The Cardinall's Musick - William Byrd: The Great Service (2012)

Andrew Carwood, The Cardinall's Musick - William Byrd: The Great Service (2012)
EAC | FLAC | Image (Cue & Log) ~ 266 Mb | Total time: 59:15 | Scans included
Classical | Label: Hyperion | CDA67937 | Recorded: 2011

The Cardinall’s Musick are acknowledged as the foremost performers of Byrd’s music. Under their director Andrew Carwood they have recorded the complete Latin church music, the final volume of which won the Gramophone Record of the Year. Now they turn to Byrd’s English church music, a genre which shows the composer treading a path between his own innate Catholicism and the requirements of the reformed Church of England. But far from sublimating Byrd’s genius this difficult situation gave rise to one of his most fertile periods.

Andrew Carwood, The Cardinall's Musick - William Byrd: O Sacrum Convivium (2004)

Posted By: ArlegZ
Andrew Carwood, The Cardinall's Musick - William Byrd: O Sacrum Convivium (2004)

Andrew Carwood, The Cardinall's Musick - William Byrd: O Sacrum Convivium (2004)
EAC | FLAC | Image (Cue & Log) ~ 410 Mb | Total time: 74:27 | Scans included
Classical | Label: Gaudeamus | # GAU 332 | Recorded: 2002

English composer William Byrd must have figured he'd lived long enough by 1605, as the seventy-something composer decided to throw caution to the winds and published his largest work, the two-volume set Gradualia, that year. This was a collection of Latin service music, consisting of mass propers for the entire church years in addition to a few secular pieces in the second volume; it contains 109 works in all. Although James I had acceded to the English throne in 1603 with the intention of at least attempting to restore some measure of religious freedom to English Catholics, in quick succession the Bye Plot, the Main Plot, and the Gunpowder Plot put to bed any hopes that this would come to pass during his reign.

Andrew Carwood, The Cardinall’s Musick - Palestrina: Stabat Mater (2003)

Posted By: ArlegZ
Andrew Carwood, The Cardinall’s Musick - Palestrina: Stabat Mater (2003)

Andrew Carwood, The Cardinall’s Musick - Palestrina: Stabat Mater (2003)
EAC | FLAC | Image (Cue & Log) ~ 416 Mb | Total time: 76:11 | Scans included
Classical | Label: Gaudeamus ‎| # CDGAU333 | Recorded: 2001

A disc which traces the emotion and joy of Holy Week and Easter by the most famous of all sixteenth-century composers, Giovanni Perluigi da Palestrina. His stunningly moving setting of the Stabat mater is set alongside dramatic descriptions of the resurrection and shows Palestrina to be more emotional and daring a composer than is usually thought. Here also you can see Palestrina using a wariety of styles, from conservative sounding polyphony for men’ voices to vibrant new pieces for double choir where rhythm and dialogue are all important.