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Laudibus in sanctis (SSATB)
This joyful and quite extended setting of an anonymous poetic paraphrase of Psalm 150 opens the
1591 Cantiones Sacrae. It is interesting that Byrd wrote very few madrigals but was willing, here and
elsewhere in his sacred works, to adopt madrigal techniques—word-painting, dance rhythms and clear
sectional construction—if he so chose. Laudibus in sanctis is one of the most madrigalian of Byrd’s
motets, a feature that in 1591 would have seemed novel and even revolutionary. An interpretative
conundrum presents itself in the ‘laeta chorea pede’ section: Brown (in The Byrd Edition) and Kerman
are categorically certain that the dotted minim here is equivalent to the semibreve of the preceding and
following sections. We tried it that way. But singers and producer rebelled; the dancing feet referred to
in the text obstinately plodded. We adopted Thurston Dart’s solution (dotted minim = minim), which
doubles the speed, and the music instantly danced. There are no manuscript sources for this piece; is
it possible that there is a mistake in the only source we have, Byrd’s printed edition? Proportional
notation was confusing and sometimes ambiguous even to sixteenth-century musicians.
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In holy praises celebrate the Lord most high;
Let the heavens echo the glorious acts of God:
Sing of the glorious acts of God, and with holy
voice
Ever magnify his power and handiwork.
Let the martial trumpet praise the great name
of the Lord
And the Muses’ lyre join in celebration.
Let the loud timbrel resound in praise of the
most high God,
Likewise the lofty organ.
Praise him with the psaltery’s nimble string;
Praise him with joyful dancing feet.
Let the hollow cymbals pour forth his holy
praises
And the sweet-sounding cymbals be filled with
the praise of God.
Let everything in the world that lives and
breathes
Sing an endless alleluia to God.
Laudibus in sanctis Dominum celebrate
supremum;
Firmamenta sonent inclyta facta Dei;
Inclyta facta Dei cantate sacraque
potentis
Voce potestatem saepe sonate manus.
Magnificum Domini cantet tuba martia
nomen:
Pieria Domino concelebrate lyra.
Laude Dei resonent resonantia tympana
summi:
Alta sacri resonent organa laude Dei.
Hunc arguta canant tenui psalteria corda,
Hunc agili laudet laeta chorea pede.
Concava divinas effundant cymbala
laudes,
Cymbala dulcesona laude repleta Dei.
Omne quod aethereis in mundo vescitur
auris,
Halleluia canat, tempus in omne Deo.
(Psalm 150, paraphrased in Elegiac verse)
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Visita, quaesumus Domine (SSAT)
This inexplicably neglected little piece must be one of the loveliest and most affecting Byrd ever wrote.
It comes from the 1605 Gradualia, and presents an unexpectedly serene, gentle aspect of his musical
personality. In a texture of magical transparency, without basses, he paints a sound-picture of guardian
angels hovering overhead, akin in atmosphere to the peace and radiance of a Raphael Nativity. The
office of Compline, itself a jewel of liturgy, can seldom have been so sensitively and evocatively adorned.
Visita, quaesumus Domine, habitationem istam, et omnes insidias inimici ab ea longe repelle:
Angeli tui sancti habitent in ea, qui nos in pace custodiant; et benedictio tua sit super nos semper.
Per Christum Dominum nostrum. Amen.
(Benediction at Compline)
(Visit, we beseech thee, O Lord, this dwelling, and drive far from it all snares of the enemy.
Let thy holy angels dwell herein to preserve us in peace, and may thy blessing be upon us
evermore; through Jesus Christ our Lord. Amen.)
Motets of praise and rejoicing
Attollite portas (SSAATB)
One of the boldest and most ambitious of Byrd’s earlier compositions, this psalm-motet was published
in the 1575 Cantiones Sacrae and also appears, adapted to English words, in manuscript sources. As
in Turn our captivity, Byrd uses a six-voiced texture not only for intricate imitative polyphony but also for
echo effects between high and low voices.
Attollite portas, principes, vestras, et elevamini, portae aeternales: et introibit Rex gloriae. Quis
est ipse Rex gloriae? Dominus fortis et potens in prœlio. Quis est ipse Rex gloriae? Dominus
virtutum ipse est Rex gloriae. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et
nunc, et semper, et in saecula saeculorum. Amen.
(Psalm 24, vv. 7, 8, 10)
(Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors: and the King of glory
shall come in. Who is the King of glory? It is the Lord strong and mighty, even the Lord
mighty in battle. Who is the King of glory? even the Lord of hosts, he is the King of glory.
Glory be to the Father, and to the Son, and to the Holy Ghost: as it was in the beginning, is
now, and ever shall be, world without end. Amen.)
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