The Cardinall’s Musick
"the voices of Andrew Carwood and his eight cohorts could probably start a blaze in the Antarctic!"
"one of the most important vocal groups in Britain's early-music armoury"
"The Cardinall's, in any case, could make music out of a John Prescott speech"
"Clear tones; perfect intonation; an ideal balance between individual colour and an ensemble blend; emotional directness: Monday night found them on triumphant form"
Founded in 1989, The Cardinall's Musick is a highly successful and innovative ensemble, known for its deeply committed and expressive performances. Taking its name from the 16th century English cardinal, Thomas Wolsey, the group’s reputation grew from its extensive study of music from the English Renaissance. Under the direction of Andrew Carwood, The Cardinall's Musick now embraces a wide range of styles and periods: from complete reconstructions of historical events to the world premieres of commissions from composers such as Michael Finnissy, Simon Whalley, Matthew Martin and Judith Weir.
One of the unique qualities of the group lies in the ability of its singers to perform as soloists within a vocal team, using their individual voices expressively and with character, “preserving their vocal personalities rather than striving for a mellifluous blend…resulting in a vibrant texture of timbres” (The Telegraph). Coupled with this is a sincere love of the music which serves to create emotionally immediate and moving performances: “the voices of Andrew Carwood and his eight cohorts could probably start a blaze in the Antarctic!” (The Times). It is this honest and dynamic sound for which The Cardinall’s Musick have become renowned, along with thoughtful, themed programmes designed to stimulate and enlighten, to broaden horizons and to bring a fresh approach to standard repertoire.
The Cardinall’s Musick has performed at the most prestigious UK festivals, including Spitalfields, Bath, Chester, Aldeburgh, the Three Choirs and the BBC Proms, as well as throughout Europe. Its award-winning discography includes music by Ludford, Cornysh, Fayrfax, Lassus, Palestrina and Victoria. They have won the Gramophone Award for Early Music no fewer than four times, for recording of Fayrfax, Tallis and Byrd. The final volume of the group's complete Latin works of William Byrd, Infelix ego, was named Recording of the Year at the 2010 Gramophone awards, only the second time an early music recording has won this prestigious prize. The Cardinall's Musick has also received a French Diapason d'Or, a German Schallplatten Kritik Preis and a Schallplatten Echo Award.
Highlights of the 2018/19 season include their debuts at the National Concert Hall, Dublin and the Muziekgebouw aan ‘t IJ in Amsterdam. They also return to Howard Assembly Room in Leeds along with continuing their relationships with both Wigmore Hall and Music at Oxford
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'The Company of Heaven' - three-part series for 2018/19 season
the differentiation of the individual lines, each sung with strong character, enabled Carwood to subtly highlight individual lines and phrases, which simultaneously injected muscularity into the evolving polyphony, with the brightness of the soprano and alto adding further ‘uplift’.
Claire Seymour, Opera Today [Part I]
It’s the tone that strikes you first with this ensemble. A trend towards ever whiter, narrower, purer sound from early music groups has given us some wonderfully gauzy, translucent, but sometimes rather wan performances, so it’s startling to hear such muscularity and full-voiced release. Just eight singers (sometimes shrinking down to a consort of four, five or six) set the dome above the Wigmore Hall stage ringing, refusing to let this lovely music settle into mere prettiness.
Alexandra Coghlan, The Tablet [Part I]
The eight singers who formed The Cardinall’s Musick on this occasion - some of whom are familiar figures from other ensembles such as The Tallis Scholars and The Sixteen - know this repertory and how to perform it like the proverbial back of the hand. But this no way lessens their attentiveness, expressivity and accomplishment. Rather - refreshingly so, in these days when we seem to be casting all continuity and cogency aside - I felt swept up in what one might call the comfort of tradition….Director Andrew Carwood achieved an excellent balance between a blended ensemble sound and highlights of colour, as individual voices came to the fore
Claire Seymour, Opera Today [Part II]
'Fairest Isle' with O/Modǝrnt Chamber Orchestra
Wigmore Hall, April 2018
beautifully sung by The Cardinall’s Musick...The Cardinall’s Music gave precise and well-blended accounts of the Tavener (from the gallery), and the Gibbons. Particularly engaging, though, were their second-half renditions of three rarely-performed partsongs by Frank Bridge, to which they brought subtlety and intelligence to point up the pieces’ contrasting natures: the gentle pastorality of Autumn, the high-Victorian style of Music, when soft voices die and the busy wittiness of The Bee.
Barry Creasy, musicOMH
‘Thomas Tallis: Spem in Alium”, Hyperion CDA 68156
Sooner or later in its excellent survey of Thomas Tallis’s a cappella choral works, the Cardinall’s Musick — as listed, 12 strong — was going to have to beef up to tackle the great 40-voice motet Spem in Alium. Here it is, and even amid rich and exalted company, it stands apart as something truly extraordinary.
James R Oestreich, New York Times, Best Classical Music Recordings of 2016
With Spem in alium (or, in its English guise, Sing and glorify), The Cardinall’s Musick conclude their Tallis explorations in style. The programming is on a par with the best instalments of the series: the placing of the lovely miniature God grant with grace just after the monumental Spem is very moving, and this In ieiunio is as fine an account of it as I can recall.
Fabrice Fitch, Gramophone
The pinnacles of this glorious disc are Thomas Tallis’s vast canvas – 40 independent voices – of Spem in alium, and a later version to an English text, Sing and glorify. […] Carwood moulds the structures to great effect, with wide-ranging dynamics from hushed groupings of eight voices to the full force. The remainder of the disc consists largely of Evensong from The Short Service, and includes the sublimely simple Tallis’s Canon, all beautifully crafted, and serving as a contract in scale and mood to the two versions of Tallis’s masterpiece
George Pratt, BBC Music *****
This Hyperion issue is another sure fire winner from Andrew Carwood and his outstanding choir… anyone who loves to wallow in the Great British choral tradition should not hesitate. I sense this could well be a potential award winner.
David Mellor, Classic FM
BBC Proms, Chamber Proms at Cadogan Hall
How often do the streets of London throng with concert-goers demanding admission to a recital of Latin motets? Even for Sloane Square, the crowds hoping for a last-minute ticket to the sold-out Proms Chamber Music debut concert by The Cardinall’s Musick of Tallis and Cheryl Frances-Hoad’s world premiere were exceptional… this was an inspired programme and performance…. the ensemble was on superb form… when the singing is as good as this, it gives you the opportunity to savour individual lines… exceptionally precise, detailed and honest performances… this concert has set a standard for Chamber Proms that will be extremely difficult to sustain.
Matthew Wright, The Arts Desk
‘Thomas Tallis: Missa Puer natus est nobis’
Hyperion CDA 68026
It's sung here with customary perfection by the Cardinall’s Musick, who polish other Tallis gems alongside it, most notably Videte miraculum, a work of such sensuous beauty it quite eclipses the Mass.
Stephen Pritchard, The Observer
‘Sacred Music by Robert Parsons’, Hyperion Records CDA 67874
Director Andrew Carwood draws earthy, visceral performances; the ensemble’s virile sound and Parsons’s sinewy polyphony are a far cry from what some critics describe as the ‘whitewashed’ English choral tradition. Carwood and his singers highlight the inherent drama of Parsons’s style…The basses resonate magnificently in Peccantem me quotidie, in Holy Lord God Almighty and in the hauntingly austere Libera me, while by contrast, the monumental Magnificat sounds radiant. Perhaps the crowning glory of the disc is the final Ave Maria, the slow and poignant unfolding of which echoes long in the memory
Kate Bolton, BBC Music Magazine
As is by now well-established, The Cardinall’s Music is a highly skilled, tightly disciplined and energetic choir able easily to tackle even the most elaborate polyphony. Its performances’ on this disc are true to form: colourful, forceful and dynamic. The Magnificat in particular is bursting with vitality, while the three funeral responds are sung with equal muscularity ,albeit more sombre in mood. Even the performance of the delicate and graceful Ave Maria motet, whose music builds to a climactic final line and ‘Amen’, is rendered with pronounced drive, Carwood directing the voices with rhythmic élan
Christopher Price, International Record Review
The Cardinall’s Musick are at their best in this repertoire, and their performances have confidence and authority…Parsons certainly deserves the hearing that Carwood’s musicians afford us, so this addition to the catalogue is very valuable
Fabrice Fitch, Gramophone
one may expect the incidence of Parson’s music on programmes to increase significantly especially after such a fine sound as Carwood generates
Rick Jones, Classic FM
The recording has deep perspective and clarity with the sequence of works, mostly scored for low voices, given fluid, impassioned readings, with vibrant bass sonorities providing an almost instrumental foundation…tonal beauty, impeccable ensemble and blend.
Rebecca Taverner, Choir and Organ
The 20 Greatest Choirs
The word-(not sound-)based approach of The Cardinall's Musick plucks them from angelic realm with bigger, more individual voices (and vibrato!) that use what might be called 'Romantic' gestures.
The ensemble's workshops in schools make a fine starting-point.
Eric Whitacre, Gramophone
‘Missa Cantantibus Organis’
Hyperion CDA 67860
a fascinating work and a fine performance
Andrew MacGregor, BBC Radio 3
this is all really exciting stuff and should be heard by anybody who cares about music of the late-16th century.
David Fallows, Gramophone
Carwood nails it – again' , 'these performers capture the creative confidence of Rome’s composing community in the decades either side of the 16th century’s turn […] exuberance and ensemble excellence […] this album works like a finely tuned time machine. It’s hard to imagine how its contents could be better served on disc.
Classic FM Magazine
wonderful build-up in sonority is deftly managed by the singers [...] utter transparency giving way to rich harmony', 'thoroughly recommended [...] it’s bracing, pleasingly unsentimental but still movingly expressive
Simon Heighes, International Record Review
the vocalists use declamation to emote, transporting the listener from sorrow to transcendent joy [..] this recording’s breadth of moods, devices and styles is refreshing [..] Carwood teases out the work’s numinous qualities
Berta Joncus, BBC Music Magazine
new treasure' [of which the Missa Cantantibus Organis is] 'the chief delight', 'sung here with the brilliance and clarity we have come to expect from this outstanding ensemble
Stephen Pritchard, The Observer
The Cardinall’s Musick offers a sumptuous body of sound that revives the well-known Miserere and brings to life the multiple-author Mass
Claudine Nightingale, Choir&Organ
The Cardinall’s Musick perform it with their usual refinement
Paul Gent, The Telegraph
Kilkenny Arts Festival
The Black Abbey, 7 August 2010
“it was clear that this was to be an evening of compellingly-projected, full-toned, gorgeously resonant singing. It was the kind of evening which had one pinching oneself to check that such edifices of sound could be produced by such a small number of voices “
Michael Dervan, Irish Times – ‘Festival Highlight 2010’
‘Il Siglo d’Oro’
Wigmore Hall, 12 July 2010
Carwood’s vigorous sweep brought out an exhilaration bordering on a kind of theological ecstasy
Richard Morrison, The Times
‘Missa Congratulamini Mihi’- Guerrero (Hyperion Records)
Recorded at the Fitzalan Chapen, Arundel, April 2009
The Cardinall's Musick have only just completed their wonderful Byrd project and here they are with this first-rate
exploration of the music of Guerrero... the singers show verve and polish in equal measure… Andrew Carwood's
singers respond with an equal measure of buoyancy and vigour... anyone interested in the siglo de oro will regard
this as essential listening
Gramophone ‘Editor's Choice’ October 2010
[the pieces] are delivered with the combination of superb ensemble, and perfectly characterised vocal lines that is
the persistent hallmark of this outstanding group; the sound is rich, full and gently resonant.
Andrew Clements, The Guardian
a leading exponent of Renaissance music, retaining the essential quality of individual vocal timbres that contribute
to a refined, characterful mix and with a polish that is second to none… the entire disc, with various shorter pieces as
complements, is captivating in its fluency and expressive power.
Geoffrey Norris, The Telegraph
Sample Programmes for The Cardinall’s Musick
|WILLIAM BYRD: THE ENGLISH CATHOLIC||
William Byrd was the greatest English composer of the 16th century. His life spanned a period of huge political and religious upheaval through which he clung to his Catholic beliefs in spite of the repression of a reformed government. He composed throughout his long life, producing his most spritely and modern sounding music in his later years. It was surely his great abilities and the esteem in which he was held which allowed him to survive in Protestant England.
|IL SIGLO D’ORO||
‘Il siglo d’oro’ – the Golden Age – was the name that Spaniards gave to their great flowering of music in the sixteenth. Spain brought forth some of the finest writers of the age and the Virgin Mary was a popular subject with all of them.
Francisco Guerrero was known as ‘el cantor de Maria’. Much of his highly characterful music was dedicated to the Virgin from well-crafted four-part pieces to the more splendid double choir numbers. This fascinating exploration of music from sixteenth century Spain sets Guerrero alongside his contemporaries and colleagues Morales, Esquivel, Vivanco, Alonso Lobo and the brightest star of all, Tomas Luis da Victoria.
|KEEPING THE FAITH: TALLIS, BYRD & 16th CENTURY ENGLAND||
Thomas Tallis and William Byrd, not only business partners and colleagues but also close friends and ones who shared a devotion to the Catholic world of early 16th century England. It is fitting therefore that they should share equal billing in this programme of Tudor music. The concert opens with Tallis' famous tune Why fum’th in fight which so captivated Ralph Vaughan Williams and led to the writing his Tallis Fantasia. Set against this simplicity is the opulent polyphony of his Missa Salve intemerata virgo and the antiphon of the same name. William Byrd propels the listener forward into the later sixteenth century with two stunning motets before his thoughtful and well-crafted set of Mass Propers for the Assumption of the Virgin - music almost certainly written for the now illegal Catholic services. Tribue Domine is a riot of energy and imagination as it celebrates the triumph of the Trinity.
Elizabeth I, one of the most famous and admired of English monarchs, died in 1603 after a life filled with trauma and success, trials and victories. This programme (introduced and narrated by Andrew Carwood) traces her remarkable life. The first half concerns the early years until her coronation in 1558. Here are the imposing characters of her father and mother, Henry VIII and Anne Boleyn, her brother and sister, Edward VI and Mary and her great ally Cardinal Pole, together with the story of the Reformation. Whilst in the second half is music concerned with her reign, celebrating the defeat of the Spanish Armada and the long list of Elizabeth’s suitors.