Following Tallis and Byrd's first publishing venture of Cantiones Sacrae of 1575, Byrd waited some 13 years to again wake the presses with his compositions. His 1588 Psalmes, Sonets, & songs of sadnes and pietie was his first solo publication, for which Elizabeth's Lord Chancellor (and notable favorite), Sir Christopher Hatton, acted as patron. This is the first complete offering of the collection and was recorded on the grounds of Holdenby House, once the largest Elizabethan country house in all of England. Written at the height of Byrd's creativity, it contains a treasure trove of musical delights. More famous among the collection includes two funeral elegies for Sir Philip Sidney (Come to me grief forever and O that most rare breast), Why do I use my ink, paper and pen? which is thought to allude to the martyrdom of the Jesuit Edmund Campion in 1580, as well as lighter secular songs from joyful madrigals to pained laments. Byrd here represents practically all levels of human emotion, with works performed by a variety of 'voyces or Instruments' as the composer himself directs.
Following Tallis and Byrd's first publishing venture of Cantiones Sacrae of 1575, Byrd waited some 13 years to again wake the presses with his compositions. His 1588 Psalmes, Sonets, & songs of sadnes and pietie was his first solo publication, for which Elizabeth's Lord Chancellor (and notable favorite), Sir Christopher Hatton, acted as patron. This is the first complete offering of the collection and was recorded on the grounds of Holdenby House, once the largest Elizabethan country house in all of England. Written at the height of Byrd's creativity, it contains a treasure trove of musical delights. More famous among the collection includes two funeral elegies for Sir Philip Sidney (Come to me grief forever and O that most rare breast), Why do I use my ink, paper and pen? which is thought to allude to the martyrdom of the Jesuit Edmund Campion in 1580, as well as lighter secular songs from joyful madrigals to pained laments. Byrd here represents practically all levels of human emotion, with works performed by a variety of 'voyces or Instruments' as the composer himself directs.
5060262793060

Details

Format: CD
Label: IVTA
Rel. Date: 04/02/2021
UPC: 5060262793060

Byrd 1588
Artist: Alamire
Format: CD
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DISC: 1
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1. O God Give Ear
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2. Mine Eyes With Fervency Of Sprite
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3. My Soul Oppressed With Care And Grief
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4. O Lord, How Long Wilt Thou Forget
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5. O Lord Who In Thy Sacred Tent
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6. O You That Hear This Voice
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7. Ambitious Love
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8. Although The Heathen Poets
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9. My Mind To Me A Kingdom Is
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10. Farwell False Love
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11. If Women Could Be Fair
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12. Who Likes To Love
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13. La Verginella
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14. Lullaby, My Sweet Little Baby
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15. All As A Sea
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16. Prostrate, O Lord, I Lie
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17. Come To Me Grief Forever
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1. Even From The Depth
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2. Blessed Is He That Fears The Lord
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3. How Shall A Young Man Prone To Ill
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4. Help Lord, For Wasted Are Those Men
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5. Lord In Thy Wrath Reprove Me Not
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6. Though Amaryllis Dance In Green
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7. Constant Penelope
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8. I Joy Not In No Earthly Bliss
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9. As I Beheld I Saw A Herdman Wild
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10. Where Fancy Fond
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11. What Pleasure Have Great Princes
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12. In Fields Abroad
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13. The Match That’s Made
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14. Why Do I Use My Paper Ink And Pen?
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15. Care For Thy Soul
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16. Susanna Fair
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17. If That A Sinner's Sighs
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18. O That Most Rare Breast
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More Info:

Following Tallis and Byrd's first publishing venture of Cantiones Sacrae of 1575, Byrd waited some 13 years to again wake the presses with his compositions. His 1588 Psalmes, Sonets, & songs of sadnes and pietie was his first solo publication, for which Elizabeth's Lord Chancellor (and notable favorite), Sir Christopher Hatton, acted as patron. This is the first complete offering of the collection and was recorded on the grounds of Holdenby House, once the largest Elizabethan country house in all of England. Written at the height of Byrd's creativity, it contains a treasure trove of musical delights. More famous among the collection includes two funeral elegies for Sir Philip Sidney (Come to me grief forever and O that most rare breast), Why do I use my ink, paper and pen? which is thought to allude to the martyrdom of the Jesuit Edmund Campion in 1580, as well as lighter secular songs from joyful madrigals to pained laments. Byrd here represents practically all levels of human emotion, with works performed by a variety of 'voyces or Instruments' as the composer himself directs.