1          In nomine a4
2          In nomine "Trust"
3          In nomine "Rachel's weeping"
4          Dum transisset Sabbatum I
5          Laudes Deo
6          In nomine "Free from all"
7          In nomine "Round"
8          In nomine “Weep no more, Rachel"
9          In nomine "Say so"
10        In nomine "Follow me"
11        Christus resurgens
12        In nomine "Cry"
13        Rubum quem
14        In nomine "Hold fast"
15        In nomine "Seldom seen"
16        In nomine "Re la re"
17        Dum transisset Sabbatum III
18        Sit fast (prima et secunda pars)
19        In nomine "Surrexit non est hic"
20        In nomine "Believe me"
21        In nomine "Report"
22        In nomine a5
23        In nomine "I come"
24        Dum transisset Sabbatum II
25        O lux beata Trinitas
26        In nomine "My death bed"
27        In nomine "Blameless"
28        In nomine "Farewell my good one forever"
29        Dum transisset Sabbatum IV
30        Amavit eum Dominus
31        In nomine a6

Phantasm (Ensemble):
Emilia Benjamin - treble and tenor viols
Jonathan Manson - tenor viol
Mikko Perkola - bass viol
Markku Luolajan-Mikkola - bass viol
Laurence Dreyfus - treble viol and director
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Emily Ashton - tenor viol (31)

This recording from the award-winning viol consort focuses on an important 16th century composer and radical thinker Christopher Tye. experiments embraced within his mystical but surprisingly approachable instrumental works.

There are pieces depicting the biblical Rachel weeping for her children, an In Nomine counted in lengths of five beats (unheard of before the nineteenth century) and obsessional works – such as Sit fast – which test the rhythmic skills of musicians with passages of dizzyingly modernist metrical complexity.

Phantasm take a radically different approach to previous recordings, delivering a performance that brings out the music’s ceaseless energy, rhythmic articulation, and provocative harmonies – in short, one that highlights Tye’s insights as music for today. ---linnrecords.com

Renaissance composer Christopher Tye is remembered for his sacred choral music, particularly for the hymn tune Winchester Old, also known as While Shepherds Watched Their Flocks, but his instrumental works hold a special significance for being among the earliest examples of English chamber music. Tye's output has been criticized for being densely textured and loose in structure, and it has been compared unfavorably to the works of Tye's younger and more admired contemporary, William Byrd. Yet this album by the viol consort Phantasm demonstrates that Tye was capable, assured, and even daring in his contrapuntal invention and use of cross-relations for expressive effect, and it provides compelling evidence of Tye's musical sophistication. The In nomine, a form derived from the Benedictus of John Taverner's Missa Gloria Tibi, was particularly fruitful in Tye's hands, though the 21 examples on this program have a secular rather than liturgical feeling, perhaps suggesting their use as court music, far removed from any religious purpose. The other selections bear sacred titles as well, which seem to allude to underlying plainchants, though the technical difficulty of the music suggests that singing was never intended, and that the pieces were purely instrumental. Phantasm delivers polished sonorities and warm expressions, and the liveliness of the group's playing maintains interest, even though the overall mood is serious and often reflective. ---Blair Sanderson, allmusic.com

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1 	O Lux A 5 	3:06
2 	In Nomine A 4 	1:48
3 	In Nomine A 5 Weep No More Rachell 	2:17
4 	In Nomine A 6 	2:02
5 	In Nomine A 5 Farwell My Good I. For Ever 	1:37
6 	In Nomine A 5 Rachells Weepinge 	2:14
7 	Rubum Quem A 5 	1:08
8 	In Nomine A 5 My Death 	2:15
9 	In Nomine A 5 Blamles 	2:26
10 	In Nomine A 5 	2:09
11 	In Nomine A 5 Rounde 	2:25
12 	In Nomine A 5 Follow Me 	2:07
13 	Christus Resurgens A 5 	2:50
14 	Dum Transisset A 5 I. 	3:46
15 	Dum Transisset A 5 II. 	3:38
16 	Dum Transisset A 5 III. 	3:50
17 	Dum Transisset A 5 IV. 	3:35
18 	Amavit A 5 	2:48
19 	In Nomine A 5 Surrexit Non Est Hicc 	2:28
20 	In Nomine A 5 Free From All 	2:09
21 	In Nomine A 5 Trust 	1:31
22 	In Nomine A 5 Beleve Me 	2:20
23 	In Nomine A 5 Crye 	2:01
24 	Lawdes Deo A 5 	2:12
25 	In Nomine A 5 I Come 	2:22
26 	In Nomine A 5 Re La Re 	1:13
27 	In Nomine A 5 Howld Fast 	1:09
28 	In Nomine A 5 Saye So 	2:01
29 	In Nomine A 5 Seldom Sene 	2:06
30 	In Nomine A 5 Reporte 	1:25

Hespèrion XX:
Eunice Brandao, Jordi Savall, Laurence Bonnal, Lorenz Duftschmid, Paolo Pandolfo, Sergi Casademunt

This disc could top the early music charts in any of several categories: outstanding viol consort; best programming; superior engineering. And for sheer aesthetic beauty, it would be hard to find a recording that would score higher on the greater-than-the-sum-of-its-parts scale. Jordi Savall and his Hespèrion XX ensemble pretty much own the viol repertoire, but usually we find them plumbing the works of continental composers from Spain, France, and Italy. Here we find them across the channel in Reformation England in what must have been the very satisfying task of bringing to light the seriously neglected instrumental music of Christopher Tye. Many observers would justifiably argue that although only 31 pieces exist, Tye's music for viol consort represents a summation of the genre--which in its complexities of texture and interdependence of the respective parts is the direct ancestor of the string quartet and other forms of chamber music. Savall and his five colleagues perform all 31 works, most of which are between two and three minutes long and primarily in a contrapuntal form known as In Nomine--a uniquely English creation, popular with many composers, in which a particular section from a John Taverner mass was used as a basis for the whole piece.

The variety and intricacy of the writing is impressive enough, but the richness of the viol sonorities alone gives ample reason to listen to this music over and over. Many of the pieces have a subtitle that refers to a Biblical text or subject of religious significance, and Tye is a master in conveying meaning and mood depending on the theme, from the sobbing, trembling bowing figures in "Crye" and the falling tears in "Rachells weepinge", to the busy, purposeful movement in "Follow me". I learned a new word in reading the liner notes to this recording: sidereal. It means "stellar", and although it was used in reference to O Lux, the first piece on the program, it serves as a perfect description of all of this music and these performances. Don't miss this one. ---David Vernier, ClassicsToday.com

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The Western Wind Mass 	
A1 	Gloria 	6:24
A2 	Credo 	6:55
A3 	Sanctus-Benedictus 	6:29
A4 	Agnus Dei 	4:50

Anthems, Motet And Votive Antiphon
B1 	My Trust, O Lord, In Thee Is Grounded 	3:51
B2 	Christ Rising Again From The Dead 	3:36
B3 	Omnes Gentes Plaudite Manibus 	4:27
B4 	Peccavimus Cum Patribus 	12:09

Choir – The Choir Of New College, Oxford
Edward Higginbottom - director

Another benchmark recording from The Choir of New College, Oxford directed by its distinguished conductor Dr. Edward Higginbottom! Christopher Tye was a chorister at Kings College, Cambridge from 1508 1513, and subsequently gained a doctorate in Music at the University. He wrote most of his music while organist and master of the choristers at Ely Cathedral. Although much of his music has been lost, his extant compositions reveal a master rivaling his contemporaries, Tallis and Taverner. ---Editorial Reviews

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