The liner notes explain this program’s premise, which at the very least is a novel way of presenting some excellent works of Byrd, Dowland, Weelkes, Dering, and Philips (all of whom lived at the time of the event in question) together with a really unusual, fascinating, and thoroughly engaging modern piece by Francis Pott (b. 1957). It’s all supposed to relate to the time and place and personalities of England’s infamous Gunpowder Plot of 1605, but, except for Pott’s 14-minute-long dramatic work, commissioned by the King’s Singers for the Gunpowder Plot’s “quatercentenary commemoration”, none of the musical works is overtly associated with the happenings of November 5, 1605.
Even so, each of the five 17th-century composers represented here had sympathies (mostly Catholic) and expressed them in various ways. If they were Roman Catholic, this meant either leaving the country (Philips, Dowland) or gaining favor with the monarchy and practicing religion quietly, or in relative secrecy (Byrd). At any rate, the excellent notes provide all the information we need to understand the political situation in 1605 and, using a “where were you on the morning of…” device, explain each composer’s whereabouts and ideological/religious inclinations.
What we’re not told on the disc’s cover is that the program includes a performance of Byrd’s wonderful Mass for 4 voices, one of the great Renaissance masterpieces, and although the recording perspective is a bit close for my taste, it’s sung to perfection. We also hear another stunning work by Byrd, the Civitas sancti tui, in a wrenchingly beautiful, trademark King’s Singers performance. Thomas Weelkes’ O Lord how joyful is the King is another highlight (this anthem was written shortly after the failed Gunpowder Plot, probably in thankfulness for the king’s life being spared), and the several instrumental selections by Dowland (three from his famed Lacrimae) are ideally chosen and performed.
Listeners will be most taken with–and certainly startled by–Pott’s ingenious creation, given the “quasi-Elizabethan” title Master Tresham, His Ducke (he explains its provenance in the notes). Its mix of ancient and modern, including some direct quotes from Byrd, and its dramatic texts make for a compelling 14 minutes, ending with the most delightfully diabolical enunciation of the word “Amen” you will ever hear. I should also mention that in the notes is an “imaginary monologue” by Deborah Mackay in which Byrd “talks us through the events that led up to and followed the unmasking of the Gunpowder Plot.” There also are references to the similarities between that event and modern-day terrorism, and to the evils of tyrants and the misguided motivations of “western political opportunists”. Yes, no doubt this is an interesting release. Not only is it opportune and thought-provoking, but it’s one of the more programmatically bold and musically satisfying discs to appear in a long while.
