The Cardinall's Musick, under the direction of Andrew Carwood, consists of 10 singers, but they rotate through performances in which they are deployed with one voice to a part. This treatment underscores the intimate and somewhat madrigalian qualities of these pieces, which were likely intended for whatever kind of small-scale performances Catholics could get away with at the time. Carwood himself wrote the concise and informative booklet notes, given in English and French; the Latin texts are translated into English only.

William Byrd (1539/40-1623) Salve sancta parens Benedicta & venerabilis Felix es, sacra Virgo Beata es, Virgo Maria Beata viscera Quem terra, pontus, aethera Salve regina O gloriosa Domina Vultum tuum Diffusa est gratia Ave Maria Ecce virgo concipiet Memento, salutis auctor Salve sola Dei genetrix Ave maris stella Gaudeamus omnes in Domino Propter veritatem & mansuetudinem Assumpta est Maria Optimam partem elegit. The Cardinall’s Musick, Andrew Carwood.

The Cardinall's Musick. In MP3 format In FLAC format. Byrd - Assumpta est Maria. 1. Salve sancta parens. Hohe Messe (1) Mass in B minor, BWV 232. Johann Sebastian Bach. Vo. (CD 1 of 4) - Cantatas BWV 1-3. St. John Passion (2). Franz Schubert. Biber, Heinrich Ignaz Franz. Battalia a 10; Requiem a 15 (Jordi Savall, Le Concert des Nations).

Andrew Carwood and The Cardinall’s Musick have recorded the Latin Church music, starting with the manuscript works, then the Cantiones Sacrae of 1575, 1589 and 1591 and the three masses. Interspersed with these are the motets from the two books of Gradualia from 1605 and 1607 presented, for the first time, in liturgically appropriate units

Byrd: Assumpta est Maria. 20 January 2012 - 4:25pm. Submitted by root admin. In this recording, the third of an on-going series, Andrew Carwood takes us over this watershed in Byrd’s Latin church music. From the vast corpus of the Gradualia, Carwood has selected the Mass Propers – texts particular to each Feast day – that inspired some of Byrd’s best writing, with complex imitation enlivened by madrigal-style word settings. The Cardinall’s Musick seize on the subtleties and expressiveness of these settings, not always with complete success. Carwood takes risks, creating lines of challenging length. His usual procedure is to paragraph musical statements by shifting the.

The Cardinall's Musick, Andrew Carwood (Hyperion CDA 67675). Leaving behind the Cantiones Sacrae of 1591 of recent volumes, this later music written in the quiet of the Essex countryside shows a marked difference in style from Byrd's middle-years of melancholy