This CD contains motets 8 to 14 from Byrd’s Cantiones sacrae
published in 1591. In the heading these are identified after the
titles as CS followed by their numbering in the original and modern
editions. The numbering incorporates the dividing of some motets
into two sections.
The other items
on this CD are from the Gradualia book 2 published in
1607 except for Lętania which comes from book 1 published
in 1605. First I shall review the Cantiones sacrae in
their 1591 order.
Haec dicit Dominus
(tr. 15) is here in its original scoring for low voices (alto,
two tenor and two bass parts) which brings more solemnity, dignity
and sense of awe to the opening harmonies and layering of ‘lamentationes’
(tr. 15 0:52). This account has more urgency of articulation,
fluency and drama than that by New College Oxford Choir/Edward
Higginbottom (CRD 3439 published 1986) which is sung a third
higher and delivered with more reflective sorrowing, timing
at 7:32 against Carwood’s 6:43. The faster tempo better points
the moment of transformation when the sudden warmth and expansion
of the alto and second tenor lines signals hope, ‘et est spes’
(4:41). Circumdederunt me (tr. 4) is another transformation
piece, moving from the opening melismata of binding, depicting
the snares of death in tortuous counterpoint, to the closing
‘libera’ entries of the hoped for free flight of the soul, the
key point in optimistic affirmation in Carwood’s performance
being the intensity of the second plea ‘O Domine’ (3:48). Again
employing low voices (ATT Baritone B) the delivery is more engagingly
insistent, the phrase spans through the parts more readily appreciable
than Higginbottom’s account sung a tone higher and with more
emphasis on a top line of trebles, though their ‘O Domine’ has
a memorably yearning ache.
Levemus corda
(tr. 12) is notable at first for its celebratory rising line and
use of upper voices (SAATB) as appropriate to ‘Let us lift our
hearts’. This is its first recording and Carwood emphasises the
positive movement in the melismata, first on ‘corda’, then on
‘caelos’, reaching to heaven and viewing it, as it were, from
above. Then comes the recognition of misdeeds, a smooth yet searing
descent of ‘provocavimus’ in the top line at 2:57 before the plea
for mercy, ‘miserere nostri’ becomes the mantra, most strikingly
and beautifully in the soaring top line arc at 4:10. What’s haunting
about Recordare, Domine (tr. 6) is its stark picture from
2:05 of a potentially desolate earth, ‘ut non desoletur terra’.
The chamber choir of The Sarum Consort/Andrew Mackay recorded
in 1996 (ASV Quicksilva CDQS6211) with more density of tone and
dramatic ambience than Carwood make this a moving, sad scene.
But Carwood, performing a tone higher, with one voice per part
and a faster pulse, timing 6:04 against Mackay’s 6:42, has greater
clarity of line, counterpoint and personal identification in the
delivery of the appeal. Carwood’s focus in the second part on
the holy city, ‘et a civitate sancta tua’, especially from 4:12
is less emotive than Mackay’s but more idealized and beauteous,
embodying more hope that it cannot be destroyed.
It’s abundantly clear
from Carwood that Exsurge, quare obdormis, Domine? (tr.
7) is a motet of protest as befits this wake-up call to the Lord.
His account is even more muscularly athletic than that also recorded
in 2007 by Stile Antico (Harmonia Mundi HMU807463, see review),
timing at 4:17 against Stile Antico’s 4:30 though Carwood’s six
voices have less body than Stile Antico’s thirteen. Carwood to
his credit achieves dynamism from purely contrapuntal and rhythmic
interchange rather than Stile Antico’s weight but the latter provide
more light and shade with more appreciably moulded, if less spontaneous,
phrase spans as the imitative entries in turn at ‘et ne repellas
me in finem’ and later ‘tribulationes nostrae’ begin quietly then
gradually become more clamorous. Yet in the closing return to
the combative cries of ‘Exsurge, Domine’ the fuller forces prove
more thrilling. Miserere mei, Deus (tr. 3) is a striking
plea for mercy, the more so at the disturbing insistency of pace
Carwood brings to it. Trinity College Cambridge Choir/Richard
Marlow, recorded in 2001 (Chandos CHAN0733, see review)
are more measured and beautifully sculpted, timing at 3:44 in
comparison with Carwood’s 3:04, but Marlow, sung a tone lower,
gives us emotion recollected in tranquillity, contrition all that’s
needed whereas Carwood’s is a present, living pained arc of effectively
descant top line climaxes at ‘misericordiam tuam’ (0:59) and again
at ‘dele iniquitatem meam’ (2:19), the outcome by no means assured.
Never recorded before,
Descendit de coelis (tr. 1) opens with measured floating
descents as from heaven and touches of descant line to give
perspective counterbalanced by the rising imitation of ‘in regionem
nostram’ from 1:47. The second part effects are more intense:
gleaming descents through golden gates (3:15) matched by rushing
ascents of floods of light (3:49) before, like fan vaulting
in sound, the closing celebratory arcs of ‘universae fabricae
mundi’ from 4:16. Just stunning.
Lętania,
the Litany (tr. 8), also recorded for the first time, is a series
of petitions by a priest, or here baritone Robert Evans, and
responses by the congregation, here The Cardinall’s Musick.
This is straightforward 4 part homophony with minimal decoration,
yet the effect in the context of this CD is of an uplifting
purity and clarity, partly because of the sheer euphony when
so well sung and balanced, partly because of its purposeful,
quite pacy presentation which emphasises the harmony opening
out. At various points petitions can be added according to the
festival, as happens here to honour all the saints, from 2:30
to 2:49, 3:01 to 3:50, 4:35 to 4:47 and 4:58 to 5:45. There’s
a surprise too: the Agnus Dei petitions begin calmly but the
top line gradually rises and grows in intensity, so its third
and final petition (7:18) is quite keening.
The other Gradualia
items constitute the Propers for the Feast of Saints Peter and
Paul. The Introit Nunc scio vere (tr. 9) is from Carwood
all exultation at deliverance. The Sixteen/Harry Christophers
(Virgin 5620132 recorded 1989) perform the piece a third higher,
using female voices on the two upper lines to creamier, more
ethereal effect but rather dominating the balance. Carwood’s
countertenors supply sheer force and rhythmic excitement, aided
by his slightly faster tempo, timing at 5:23 against Christophers’
5:46. Carwood’s use of one voice per part makes the articulation
more personal, especially the skipping close of the central
verse section, ‘et resurrectionem meam’ from 2:13. In the Gradual
Constitues eos principes (tr. 10) through the clarity
of the layering of the parts Carwood brings a sense of regal
gathering and a feeling of opening out when shorter notes infuse
the texture at ‘Domine’ from 0:53 and ‘generatione’ from 1:31.
Its verse (1:46) is sinewy imitation in 3 parts followed by
confident, robust Alleluias. In the Offertory Tu es Petrus
(tr. 11) Carwood presents an galvanized picture of building
the church through the rising imitative entries in short notes
over the firm rock of sustained bass notes before resilient
Alleluias. It’s a gain to have solo voices here. Christophers,
performing a third higher, is bright and airy but doesn’t generate
Carwood’s energy. Hodie Simon Petrus (tr. 13), the Magnificat
Antiphon at Second Vespers, is similarly given a more intense
account by Carwood, with more excitement at the madrigalian
‘gaudens’ (1:13) yet still a serene descent at ‘inclinato capite’
(2:09). In Tu es pastor ovium (tr. 2), the Magnificat
Antiphon at First Vespers, Carwood’s climax as the firm articulation
of the motif ‘tibi traditae sunt’ (from 1:18) is offset by the
skipping descents of ‘caelorum’ (from 1:38) emerges from a more
natural rhythmic spontaneity than Christophers’ more moulded
approach. Again with Carwood’s one voice per part there’s more
clarity of entries and individuality of witness. Christophers
prefers a more homogenized otherworldliness. In Carwood’s Quodcumque
ligaveris (tr. 5), the Benedictus Antiphon at Lauds, you
notice in particular the affirmative witness of the imitation
between parts from 0:49 in the descents ‘et in caelis’ and then
the firmer motif rising from 1:43 at ‘erit solutum’. When the
final section, ‘dicit Dominus Simoni Petro’ (2:32) becomes a
virtuosic flurry of rapid notes, Carwood by taking these more
lightly in his stride brings a more natural, less drilled feel
than Christophers to this rich unflowering.
Finally there’s Solve,
iubente Deo (tr. 14), the Alleluia at the Feast of St Peter’s
Chains. Carwood makes the opening command ‘Solve’ an arresting
peal, brings a spiky edge from 0:51 to ‘catenas’, Peter’s chains,
but then a more smiling and serene expansiveness from 1:22 for
‘caelestia regna beatis’ before sonorous Alleluias. The Cambridge
Singers/John Rutter (Collegium CSCD507 published 1989), singing
a tone higher, are eager and articulate in an attractive, light
manner which makes the heavenly kingdoms an idyllic enough dream
but the chains flimsier. They don’t have Carwood’s innate elemental
toughness, rigour of articulation and sheer resonance, characteristics
which pervade these fine performances born of the Cardinall’s
Musick’s unmatched experience of and sympathy in singing Byrd.
Michael Greenhalgh
see also Review
by Brian Wilson
The Cardinall’s
Musick/Andrew Carwood 
