#fromthevault
Our #fromthevault series features Magnificat recordings that were never released, together with brief commentary from Philip Cave. There are some real gems that we’re pleased to be able to share, and a new track will be posted each month. Enjoy!
July 2024
“In his early works, Taverner composed in a complex, florid style. In the Agnus Dei of the Meane Mass, however, less is more! Taverner’s style has evolved to something simpler and more transparent, allowing the words to speak clearly and effectively. Again, we may hear here music that may well have influenced William Byrd in his mass compositions.”
June 2024
“The Sanctus unfolds beautifully - one wonders if Byrd was familiar with it as he wrote his Latin Mass settings. The Benedictus is a wonderful example where reduced scoring draws us in more closely before releasing pent-up energy in ‘Hosanna in excelsis’.”
May 2024
“Alternating sections of imitative and homophonic writing, Taverner’s setting of the Credo is a model blend of clarity and expressivity. The final section, ‘et expecto … et vitam venturi saeculi. Amen.’ is especially thrilling!”
April 2024
“John Taverner’s Meane Mass is so called because the top voice is for meanes rather than the higher treble voice. I recorded this work together with Robin Blaze, Steven Harrold, Matthew Brook and Rob Macdonald back in 1995 in St. Martin’s Church, East Woodhay - to which we returned in 2023 for Vol. 1 of The Alchemist! Listen out for the stunning false relation at 2:13 at the words ‘Jesu Christe’.”
March 2024
“There are several lavish standalone settings of the Crucifixus section of the Mass: Antonio Lotti’s versions for 6, 8 and 10 voices are well known, but Antonio Caldara’s setting for 16 voices is Lotti on steroids! Its angular melody passes from one voice to the next amid a constant stream of suspensions. Advisory: it’s not the best example of Lenten abstinence…but it is a fabulous piece.”
February 2024
“Byrd's Ad Dominum cum tribularer is a sumptuous 8-part setting of Psalm 120 which I first sang with David Wulstan and the Clerkes of Oxenford. As a choral scholar, I had always enjoyed that little ripple of glee when a juicy false-relation came along, but Ad Dominum was something else! The fiery text inspired Byrd to some glorious dissonant pile-ups with the simultaneous sounding of major vs. minor harmonies.”