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Pianist and composer Kit Armstrong steps back in time to revive the spirit of the early English composers William Byrd and John Bull in his Deutsche Grammophon debut album »William Byrd · John Bull - The Visionaries of Piano Music«. He is exploring a remarkable legacy of works originally written for organ or the virginal - close relative of the harpsichord - and presents the composers immeasurable contribution to keyboard music as well as their contrasting means of expression. Kit Armstrong sees Byrd as having been inspired by the “great eternal world” rather than his inner self. Byrd, he continues, was a man of unshakeable strength of character. “He was a decent fellow and that comes across in his music.
The core of his keyboard corpus consists of dances (chiefly pavan and galliard), variations (including grounds), and fancies (“fantasy” in modern parlance, closer to “fugue” in meaning). It may well be that Byrd’s works were at first concerned with the development of technique in these defined forms. Next they incorporated multilayered meanings, for example of covert recusant messages in Walsingham, similar to what we are discovering ever more in his vocal music. The way then led to integrated, multifaceted works like the William Petre suite and to the all-embracing kaleidoscopic technique of the O mistress mine variations.
Kit Armstrong - Byrd: Pavan Sir William Petre (Parthenia 2; MB 27/3a)
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