Trenton Tye

Several new versions of Tye’s Missa Euge bone have appeared since the Winchester Cathedral Choir first released this disc of Tye’s Cathedral music in 1991. However, and notwithstanding Jeremy Summerly’s splendid Naxos offering with the Oxford Camerata, in my view none matches the Winchester recording for sheer vitality and sonic brilliance.

John Taverner's accidentally totemic theme is subjected to more wondrous transformations by the likes of Robert Parsons, Henry Purcell and of course Christopher Tye—and inspires new works from Nico Muhly and Gavin Bryars.

Christopher Tye was a close contemporary of Tallis and other composers of the Tudor era. He spent most of his career in the prestigious post of Master of the Choristers and organist of Ely Cathedral. Only a proportion of his works have survived, but among them are motets and two Mass settings. Of all these, his masterpiece is surely the six-voice Missa Euge Bone – recorded on the present disc and by several other ensembles over the past few decades.

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.