Pieter-Jan Belder - Byrd: Organ Works (2024) [Hi-Res]

Tracklist

01. Prelude in G Minor, BK1
02. Fantasia in G Major, BK63
03. Christe, qui lux (Es et dies), BK121
04. Fantasia, MBLV55 (Byrd arr. Thomas Tomkins)
05. In nominee, BK51 (Parsons set by Byrd)
06. Ut re mi, BK65
07. Gloria tibi trinitas, BK50
08. A Ground, BK9 (2)
09. Prelude & Fantasia in A Minor, BK12&13
10. The Queens Alman, BK10
11. Voluntary for my Lady Nevell, BK61
12. Pavan Lachrymae, BK54 (Dowland arr. Byrd)
13. Fantasia in G Major, BK62
14. Fantasia A Lesson in Voluntaire in C Major, BK26
15. Miserere, BK66
16. Miserere, BK67
17. Ut, re, mi, fa, sol, la, BK58 (2)
18. Ut, re, mi, fa, sol, la, BK64
19. A Verse of Two Parts, BK28
20. A Fancie in D Minor, BK46
21. Salvator Mundi, BK68
22. Salvator Mundi, BK69
23. A Voluntarie in C Major, BK27
24. Clarifica me, BK47
25. Clarifica me, BK48
26. Clarifica me, BK49
27. Prelude and Fantasia in C Major, BK24&25



In 2023 Brilliant Classics released a 9CD box of the complete keyboard music by William Byrd, marking the tercentenary of the composer’s death. The set was welcomed as a monumental achievement, and a worthy sequel to Davitt Moroney’s pioneering achievement on Hyperion: ‘Those who enjoyed Belder’s forthright and imaginatively ornamented Byrd performances in his complete Fitzwilliam Virginal Book survey will know what to expect,’ wrote Jed Distler in Classics Today. ‘He favors less agogic manipulation and more conservative rhythmic continuity compared to Hyperion’s Davitt Moroney. However, a palpable sense of controlled freedom informs Belder’s subtle placement of cadences and phrase endings and his flexibly articulated ornaments.’

Extracted from that critically acclaimed set, the present album presents all the pieces recorded bv Pieter-Jan Belder on the at the Albert Kiespenning organ of the Grote Kerk in Wijk bij Duurstede. The degree to which any of these pieces was written ‘for organ’ may remain open to question, when they could be performed, with allowance for some imaginative liberties, on any keyboard instrument, and indeed many contemporary pianists have revived Byrd’s music for a new generation of listeners.

Whether experienced on a Steinway or a spinet, Byrd is the first great composer for the keyboard, even when producing instrumental versions of choral anthems. Belder includes several such pieces here, which find a natural home ‘in church’ rather than the domestic setting of the harpsichord. Two versions of Salvator Mundi are effectively forerunners of chorale preludes; likewise three versions of Clarifica me. Several voluntaries lie no less idiomatically on the organ despite their highly florid writing, while the assorted preludes or fantasias and their companion fugues also deserve to be regarded alongside notable pre-Bachian models by Frescobaldi and Buxtehude.

According to Early Music Review: ‘As for performance, Belder’s strength is in allowing Byrd to speak through the music rather than inflicting an interpretative regime upon the music… It remains wholeheartedly to welcome and recommend this fine discographical achievement.’

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